Nomad Sculpt: Solid Foundations

1. Say Hello to Nomad Sculpt!: Hello, and welcome to Nomad Sculpt Solid Foundations. Nomad Sculpt is the three D sculpting program for the iPad, for the Android. And while I was recording this course, it was released for the MD and the PC. So this program is really hot right now. Now, if you're a two D artist, you use a program like Procreate or Photoshop or rebel or clip studio paint. But you've seen these beautiful three D sculpted models, and you thought to yourself, That looks great, but it also looks hard. I have a treat for you. Nomad Sculpt is definitely one of the easier three D sculpting programs out there. But it's also got power, a lot of it. And I will show you everything you need to know to harness that power and start creating your models, your way, and they are gonna look great. Now, we're not just going to learn a tool here and a tool there. I have four different projects for you. We are going to build complete objects, and we're going to learn the tools along the way as part of a workflow because workflow counts. We'll start off by doing what everybody does. We're going to make a head, and you can learn the fundamental tools and the workflow needed with it. Then, if you have done my Procreate solid foundations course, you might remember Anna the Angler fish. Well, we are going to do her in Glorious three D, and she is every bit as fun as she was in Tu Di. But that's one of the points. If you're a Tod artist, and you ever wanted a reference to draw from or to paint from, well, with a three D sculpting program like no Mod sculpt, you can create any reference model you want. Can paint it any kind that you want. You can add lights to get all the light and shadow that you want. Learning a three D package like nonad sculpt can take your two D artwork to the next level. So let's take a look at that, as well. For the third project. We will create a pumpkin head, and we will use slightly more advanced tools. And we'll introduce painting your objects. And we'll introduce lighting. And for the fourth and final project, we are going to take the goblin head that we created, and I'm going to give you an advanced painting course so you can really bring your models to life. I'm Simon. I've been a designer illustrator for close to 40 years. I have many courses out there. They all get very good reviews. You are in safe hands. So let's move on to the next lesson where we are going to make a huge mess and enjoy ourselves doing it, and you are going to start learning the tools and the workflow. That's going to enable you to make some great models. I'll see you in the next lesson. 2. Make a Mess! Part 1: Hello, and welcome to the course. Okay, so here's the screen in my iPad. I'm just circling the nomad app right now. And the first thing I'm going to do is something I really don't want you to do. I am going to tap and hold on the app, and I am going to remove the app. Yes, I do want to. Now, the reason I've done that is because you can customize nomad, and you can also add extra things to it to increase its functionality. I've done both of those things, and so I'm reinstalling so I can guarantee nothing on my screen is something you don't already have. Now, can I repeat, please don't do this. If you've played with nomad you even have one project. Seriously, I don't want you to lose work. And, of course, I backed up everything to my iCloud Drive. If you're seeing this on an iPad, you can do the same thing, or you could use the Files app on the iPad and save either onto your iPad or to an external drive. Now, if you don't have those, you can always back up stuff to Dropbox or Google Drive or One Drive. And so what I'll do now is I will go to the app store. I will reinstall Nomad, and I'll get straight back to you once I have. Okay, so here we are again. You can see nomad in the same place before I open Nomad, here's some text on the screen. This is showing you the various things I will be covering in this lesson and also a timestamp just to the left so that if you come back to this lesson and you want to revise a particular thing, you know where that thing is on the timeline so you can go quickly to it. Okay, so deep breath. Let's open it up. And that's what we see. That is the default interface for nomad at the time that I'm recording this video. And if now you are looking at this, thinking, What am I gonna do? It's okay. Together, we will discover the fundamentals of nomad. And in this lesson, you're going to make a mess. You are not going to make anything recognizable. Hopefully. And the reason I'm doing it this way is because over the years, I've introduced quite a few people to two D and three D software, and you see the same thing happening again and again. You show people a few things, then they start to practice with it, and quite often, you get the light bulb moment. That's where you can practically see the little light bulb going off over their head, and they can start to see the possibilities and people start to get interested and people start to get excited. The problem comes when instead of just playing around with the interface and the tools, people start to try to make something. At that point, they start saying, how do I do this or how do I do that? And they haven't learned it yet. And that's the point where sometimes people just stop being interested because it all looks too difficult. So we're not going to do that. We're not going to be making anything in this lesson. Instead, we're just going to play around with some of the tools and get a feel for what nomad can do. Now, before I do anything, I'm going to do a couple of things which should help us. I'm going to come up to this icon, which I'm circling in the top right, and that is your various settings. The first thing I'm going to do from the interface tab is I'm going to come down and I'm going to change the color scheme to just where I'm circling and I'm going to change it. To green. The reason I'm doing that is because by default, you get a lot of red buttons all over the place. And when I see those, I sometimes think, Well, is Nomad trying to warn me not to do something because it's red and red is a warning signal? I don't want that for us, so change it to green. Green is good. Green means go on any of the buttons that you can see. The next thing I'm going to do is I'm going to come over to the tab next to it, which says gesture. And I'm going to make sure that things like finger and stylus are turned on hand mouse, as well, in case I use a mouse later on. And the reason I do that is so that if, for example, I have two fingers on screen at the same time, you'll be able to see the little finger marks. Look, I'll show you. See that? See those two little blue icons? I'm using my thumb and my finger to drag inwards, and you can see that blob, that sphere in the middle gets bigger or smaller. That's how you zoom in and out. And if I drag around, you can't see it too clearly yet, but if I drag on the outside of that object, I can move it about. That's your basic navigation. I'm going to come back to the top right to my various different settings. I'm going to come down to the bottom and right at the bottom, it says palm rejection. I'm going to turn that on. That means I should only be drawing with my pencil, and I'm less likely to get strange things happening because I'm accidentally resting my palm on the screen, and it's doing things that I don't want it to do. And, look, a red warning button. Yes, I'll press okay for that. So I'll tap once on the screen just to get rid of that menu. Okay, so just touching that sphere on the outside is an orange circle with a.in the middle. That shows me where I'm going to be drawing with my pencil. And I can move it around and I can drag things around like this. But when I come and I just hover and I come to the actual surface of that blob, it turns red, which means if I press down now, I'm going to make a brush stroke. Okay, so what am I going to make a brush stroke with? I'm going to make a brush stroke with the clay brush. Come to the right hand side of your screen. At the top, I'm circling it now. That brush is your clay brush. Alright, so let's make a couple of brush strokes. And something happened. If I come to the outside and drag around a little bit, can you see that I have raised the surface of that sphere? And it's quite a flat brush stroke. That is what the clay brush stroke does, and it is one of the most fundamental brushes you will use. Alright, let's make a few more brush strokes. I'm starting to build up shapes. If I drag around the outside, you can see my blue cursor. I'm starting to affect the shape of that sphere by using my brush. Let's take a look at some of those brush settings. The brush settings come down the left side of the screen, and I can do things like I can affect the brush size, make it smaller or bigger by dragging that slider on the left hand side. So let's make it small to make some smaller brush strokes like this. And I can also adjust the intensity. This slide just underneath, that's the intensity slider. If I drag that right the way down and I make a couple of more brush strokes, Okay, you can see I'm making repeated brush strokes, but I'm building up the surface much more slowly. And sometimes you'll have to turn the shape around to see what you've done. If I turn the intensity up, you can see I'm getting much bolder strokes. Now, supposing so far I don't like this masterpiece. I want to undo some of the things I've done. Well, that's really, really easy. Two finger tap. Each time you tap, you undo one step, and you can see that. If I decide, No, you know what? I really enjoyed the masterpiece before. The finger tap will redo your brush strokes. So just take a minute with this now just to experiment with the clay brush, draw on the surface you can draw across like this. You don't have to draw always in the same direction. I can take the intensity down so it builds up a little bit more slowly. And I can adjust the size so I can get some very big brush strokes like this. Incidentally, let's take that brush size down a little bit. If I pinch inwards to zoom out, the brush stays the same size. So effectively, I'm increasing more area with the same brush size simply by zooming out. If I zoom in like this and I make the same brush stroke with the same size brush, I'm going to make smaller brush strokes because we're more zoomed in. Incidentally, sometimes you'll get to the stage where you've really zoomed in like this, and sometimes you'll want to zoom out, but it can be a little bit difficult to do so. If that happens, come up to where I'm circling now, you can see that little Well, you've got three icons there. I'm going to tap the one I'm circling and everything zooms out so that your selected object fits on the screen. While you're doing this, can you see where I'm circling in the top right hand corner, that little cube is helping me figure out where I am, which can be a bit difficult sometimes. Like at the moment, I'm looking at my sphere from the back, you can see it says back. If I move around, I can move around so I can see it from the front, from the right, from the left, and if supposing I want to go to the right hand view, but I want to be looking at this straight from the right hand side, just tap where it says right, and now I'm looking at whatever I'm doing directly from the right hand side. So this is a very useful tool. You can also move things around by moving the cube or as before, just by using one finger. Okay, so so far, I'm making my brush strokes. I'll make it a little bit small. I'll move around a little bit and make a couple of brush strokes here. But if I come just underneath where I'm circling, you can see sub that stands for subtract. So instead of adding volume to my sphere, I can take away. Now, this, if I make a few brush strokes and I move around, can you see how I'm cutting into the surface of my blob? Now, you can see the sub is highlighted in green. That means I'm in subtract mode for the brush. If I tap on it, again, I start to add brush strokes. Okay, so there is one thing you can do with this if I come around for a bit I haven't done yet, two things to drag. So I'm adding brush strokes and I'm adding brush strokes. If I press and hold, you can see where my thumb is on the left hand side of the screen. If I hold that, I'll do subtractive brush strokes just so long as I'm holding down on the subtract button. If I let go, it toggles off again, so you can toggle it on and off by holding down on that button. Same thing with the button underneath. You see where it says smooth, I will tap on it. And let's come to a bit which is quite rough. Let's come to this bit here. And you can see, when I scribble, I'm starting to smooth out all those little ridges and valleys on my object for a smoother effect, like this. I can turn it off again. And as with the subtract, if I press my thumb on there and hold, I can smooth. And if I let go again, I go back to my clay tool and I can build up and I can subtract as much as I want. So can you do that for me? Just pause the video and just play around with the clay tool, play around with the size of the brush, play around with the intensity of the brush, and just play a little bit with the subtract button and smooth button also while you're about it. Just practice undoing by two finger tap and redoing with three finger tap. I'm going to do something now which I don't really want to do, and that is very briefly explain the interface. Now the reason I don't like doing this is because, for example, if I show you where the VaxaRmash button is and explain very briefly what it does, that's going to mean nothing to you. You have to see what the VaxllRmsh function is before you actually want to go and look for it. So I'm not going to explain where everything is. You'll never remember all the information, and I don't want you to end up feeling pretty frustrated because I'm explaining a whole load of where things are, and those things mean nothing to you. But I know that if I don't, people will write to me and say, Look, could you explain the interface? So, okay, I will try and give a brief explanation. And can you see that little cursor moving around with a little.in the middle? That is my mouse. And I'm happy about this because it means you can follow wherever I am on the screen, which saves me having to put a whole load of yellow circles all over the place. Okay, so on the right hand side of the screen, these are the various tools that you will use to curate your models. Like, for example, I have clay at the moment, and I can use that like this. If I come and swap and I come to say the Move tool, I can move things around. So these are all the tools that you've got at your disposal. Each one of these tools has various settings. And depending on which tool you've got, let's come back to say our clay tool. And when I click on it, look at that narrow bar on the left hand side of the screen. Did you see that? That size slider changed a little bit. Look if I move it like this. And I come back to the move tool, or what about the flattened tool? Oh, what about the cube tool? Oh, now all of a sudden, on the left hand side, you get the things you can do with whatever tool you have selected on the right hand side. So choose a tool on the right, then look on the left to see what its settings are. Okay, so that is for your on screen settings. If you come to the top, here on the right hand side, you've got settings for the flattened tool. If I come to, say, the clay tool, doesn't have any specific settings, but if you come to the next co along, this panel means you can do more of a deep dive into how this particular tool behaves. And you have this panel, but the panel actually has several different sub tabs like this. Now, what's on there will depend on what tool you're using. But as you can see, there's a lot of customization you can do with the tools at your disposal. Come to the next one along, stroke painting. That is where you can paint on your object. Symmetry, that controls whether or not you're drawing with symmetry on your object and what kind of symmetry your operations, these are various tools that you can use to affect your object. And it's a fairly recent panel because there were a lot of tools in different places. They all got put into their own particular panel. That's the operations panel. Layers. You can have more than one layer which does different things within nomad sculpt. We will talk about those. Now, your display settings, that controls things like, well, this top section here, that controls what you can see down here on the bottom. These are like quick use buttons. Like, for example, there is a grid, and if you turn that button on, you get a grid in the background which moves around like this, and then you can come back and you can turn it off, or you can have things like an outline around the object, which you can turn on and off. Things in this panel are more about your working environment than the actual object itself. Then you've got your various options here where you can affect things like your interface. And this one on the very top right, controls how you see your tools. So that's most of the interface. The only other thing now is things like your big operations. That's on the top left hand side. That gives you some information, also gives you a little turntable in case you want it. This button is your file button for things like new projects, opening projects, saving projects, import, export, all that stuff. This is your SN project which controls the various scenes which are in your project. Now, this one, this is your multi resolution panel or your auxilary messing all of these tools are to do with increasing the amount of detail you've got in your scene or decreasing it or rearranging the polygons which make up your objects. We will talk about that. Material, what kind of material you're working with because you have different ways of showing that model. Shading, this is where you control what the final image will look like. You can also add things like lights in there to affect the look of your model quality. Well, this is for when you do your final finished picture and you can control what quality is plus add various different effects to it. Your background, that controls, well, at the moment, we've got a gray gradient. You can have images in the background. And then you've got your camera. This controls how your camera sees this world that you're sculpting in. And you can also set up views. We'll do that in a while, and that's useful for things like creating fairly accurate models. There are one or two other things, as well in the top left in this area here, which I'm squiggling my mouse around. That tells you how much am you have on your system, how much you're using at the moment, and how many points there are in the scene. I will explain that to you. And on this side, you have this. This is your snap cube. And if you come on there and you move it around, you can move the scene around. You can lock the view so you can't rotate it. And if you've zoomed in way too much, and you're going to panic, frankly, come to this little icon here, and that resizes your active object so that it's more manageable on the screen. And this one, the home thing. Well, that takes you to the front view, let's do. Let's make it a bit smaller. There's a Os. There's two I's. So I move around all over the place, and if I come to home, it takes me back so that head is facing me directly. Okay, that really is as much as I want to say about the interface. You will learn it as you go along, and that's a much better way of learning it than trying to remember everything I've told you all at once. Okay, let's move on. 3. Make a Mess! Part 2: That's your very first mess, Let's just forget about it and create a new sphere and practice some more. To do that, I want you to come up to this little folder icon in the top right hand corner. These icons along the top, left. Oh, those are a bit like a desktop program, you know, where you get file, edit, whatever menu along the top of your screen. Well, that's these icons here. So I'm going to come to the project menu. Unsafe changes, that's fine by me. I would just come down to where it says new, and it says, you'll lose your unsaved changes. Yep, not a problem. Come back to there's my sphere. Now, the reason I've started with a new project where we drop down another sphere is because I want you to repeat what we've just done. Scribble, delete without saving, because that way, we're just playing and figuring out what the different tools do. Hopefully, that is all straightforward. Let's show you a little bit more stuff. I've got my clay tool selected. You'll notice I've got my big red circle. Let's make that a little bit smaller, and you can see that red circle moving around with the.in the middle. You can also see there's another dot moving around on the opposite side of it. And look, you may have figured this out already. At the moment, I'm mirroring things. So whatever I do on one side gets done to the other. That is because look, a lot of the time, you're going to be making things like heads or bodies and stuff like that. And you're making your life easier if you can draw in symmetry. Now, just in case you don't want symmetry, come up to this little icon here and the top right, which I'm circling, tap on it, and you can see symmetry, it's enabled, and you can see a little red line going down the middle of my object. That's your line of symmetry. If I don't want that on, disable it, and you can see, I only draw things on the one side like this. If I come up and I turn it back on again, then I go back to drawing in symmetry again. Okay, I will come up to my project menu again, and I will create a new scene. Start again. This is what I want us to do. We've done the clay tool, but there's a whole list of tools going down the right hand side. These are what you use to push and pull and carve and sculpt your sphere, in this case, into something that you want. Come down to the bottom where I'm circling. Can you see that little round thing at the bottom of those list of icons? If I come there and I drag it out, I can decide how many of my tools I want on screen at the same time. Give that a try. Just move it up and down like this. Now, what I prefer to do this is my choice. I prefer to have my tools four columns wide. There are two reasons for that. One is that I want to see all my brushes on screen at the same time. But also quite a long time to figure out where these various different tools are. And if I always have it set to four columns, I can see all my tools. But also, if I come to the next tool that we're going to be using, which is the move tool, I always know that it's going to be at the top third one along. And also, we're going to be looking at two more tools in this tutorial. We're going to be looking at flatten and we're going to be looking at crease. And if I keep this four columns wide arrangement, eventually, you will know that if I want to use the flatten tool, it's always three down and one across. And if I want to use the crease, it's always going to be three down and right next to the side of my screen. If I started to move this around like this and didn't keep it, in my case, four columns, I'm going to have to go back to playing Hunt the icon, which is never that much fun. So back to four wide. Okay, so I'm going to come to my move tool. I'm going to two finger pinching to make this a bit smaller, and I'm going to move things around like this. If I turn it around like this, you can see I'm starting to move various parts of my sphere around and this way, I can quickly make shapes. Now, when you're starting to create a shape, you will use the move tool a lot. That's how you make big changes. And I'm not making anything in particular, just playing and moving it around to see what I can do. And already, I'm starting to think, Oh, maybe I can make a bird if I push this in a little bit, and if I move it around, maybe I can start to make a bit of a beak or is that a nose of some kind? I'm just playing around with the shape to get a feel of it. And this is one important thing. If you are making shapes, I'll just zoom out a little bit and move it around. You want to be looking at whatever it is you're modeling in lots of different directions because look, if I come and I move across with two finger drag, and I'll come and press right, that's looking at this straight from the right. Now if I start to pull things around and I'm starting to think, Oh, this is looking interesting, something I want to make. And then if I move it around, all of a sudden, things can start to look a little bit, not how I was expecting them to look. So when you're modeling, move things around. You want to be looking at everything everywhere all at once. And I really do want to watch that movie at some point. Okay, so that's the move tool, and then I can come back to my clay tool and I can start to build up a bit of definition. That's a bit too high definition for what I wanted, or too large. So I can zoom in with the same brush size, and if need be, I can move the radius down a little bit, and I can start to carve out a shape that I want. And then maybe I come down and tap my subtract button and I can start to make indentation here, maybe I can move this around like this. I'm just playing around and seeing what forms I can create just with these two tools and maybe turn off sub and then come to smooth and just smooth that out a little bit, and I can start to build up the shapes that I want to build up. Okay, so at this point, I should explain to you what is Noma doing to what used to be a sphere and now is a little bit of an interesting shape. To explain that, I'm going to come down to the bottom. You see where it says wireframe? I'm going to tap on that. That is what you are manipulating. If I zoom right at close and personal, let's come down to say this bit here. What I've got are a series of points in space. And if I turn off smooth, that makes me come back to my Claytor. No. I'll come back to move, and I'll make my brush size very, very small. Take the intensity up so it's pretty obvious what I'm doing. Now, can you see I've got my cursor pretty small? Let's make it even smaller. And I'm going to come to where these two lines are crossing and I'm going to move that around. Can you see that? Let's zoom in even more to make it very obvious. I'm taking that point in space, and I'm moving it around, and I'm not particularly sure which way that is moving, and I won't know until I start to rotate around a little bit like this. And there you go. I'm moving that point. I can move points next to it like this. And you can see those points are arranged in squares. So the point you can call a point or a vertice, and it's moving around various different points of that particular square. Let's come to a new one. Let's come to this one here. Move that, move that, move that, move that. I've got four points, and together they are making up a four sided square. That is known as a polygon. Now, the bits connecting this point here with this point here, let's try another one. Let's try this point here with this point here, that bit there is known as an edge. So you've got your points, your edges, and together, they make polygons. Now, at the moment, because I'm zoomed in really, really close, I'm moving individual points. That's not much good to me. So what I will do is I will come. Do you remember this little icon here, which means if I tap on it, I can fit things on screen, and I will make my brush size a bit bigger. Now when I move, you can see I'm moving around groups of points. The bits which are right underneath that red dot, those are the points that are moving the most. Because that's the center of my brush. But as you start to go more towards the outside, and you can see the outside of the brush with that red circle, the less the points are affected. And that's what you're doing. If I come to my clay brush, and I'll take the intensity up a little bit, the clay brush is moving those points around, but in a different way if I come to subtract. I press just softly, so it's not quite as intense or hard, so I get a stronger effect. All of these brushes push, pull, carve, inflate, flatten. But all the brushes do them in slightly different ways. Okay, I'll come down. I'll turn wireframe off so that you can see what we're doing. Now, the reason you get those little rather curious shapes around here. These little jaggy shapes is because if I turn on wireframe again, you can see sometimes I'm taking those polygons and I'm pulling them in some rather strange ways because, look, here's a secret. That little four sided shape is actually two triangles stuck together. You can see that triangle moving around there, and you can see that triangle moving around there. You don't really want those in your final object, but there's plenty of things we can do about that. So if I just zoom out, one of the things we can do, well, you've already seen it, come to smooth, and you can smooth out those shapes. Like this. That's helping at the moment, but there's plenty more that we can be doing with this. Let's make the size a bit bigger. Okay, we are nearly there for this lesson. There are just a couple of more tools that I want to show you. Try this one, the Crease tool on my screen, third one down, fourth, one along, tap on that. Let's come from an area. If I come to say this bit here, I'm going to make a line going down like this. And can you see what's happening? It's doing what the tool says it's going to do. It's creasing the surface of my object. So I'm getting little indentations, little creases. Imagining you're doing someone's face, you want to do some wrinkles. This would be the tool you use. You can also make it do the opposite if you come down to where it says invert. So now, instead of creating a little gouge, I can create a little ridge like this. Can you see that? I'm getting a little sharp ridge. No, actually, no, I made a mistake there. I don't want that in that position, so two finger tap come to invert, and I can start to gouge details in the surface of my little shape. Say, these bits here are a little bit too much for me. I can come to smooth, take down the intensity, and I can gradually soften them like this, turn smooth back off, come back to the crease tool. Now, the other tool I want to show you is this one, the flattened tool. Let's make this fairly big. And let's come to this what? Should we call it a beak. And if I start to make the brush strokes here, what it's doing it's starting to flatten that rather blobby area, if I move this around. Can you see that? I'm starting to flatten that particular area. Maybe I can do it a little bit on top of this, what you would call it, the eyebrow of a rather strange creature. And then I might decide, well, that's come back to my cruise tool, and I might want to increase this bit here, which is starting to look a little bit strange. And this is the point where if you were doing this for the first time, you might think, Well, I don't particularly like that. How do I make it smoother? How do I get more polygons to play with? We will cover all of that. In the meantime, you already know something you can do. You can come back to smooth and try and smooth this out. Now, those four tools that I've just shown you, the clay tool, the move tool, the flatten tool and the crease tool, People tend to prefer different tools to do different tasks. Everyone has their own preferences. But I'm guessing that most users of nomad will use these four tools maybe 70, 80% of the time to carve their shape. Now, if you remember, this started out as a sphere, and already, it's looking nothing like a sphere. It's starting to look a little bit like some kind of sci fi bird of prey, maybe. I don't know. And so that is the point that I want to stop because I could carry on working on if I don't have the knowledge of how to do various different things, I'm gonna fall into the trap. I want to take this forward, but I don't know how to. No matter is frustrating. I don't want to know. So come here, come down to New and start again. Use the clay tool for sculpting. Let's turn it off subtract. Use the move tool for making bigger movements. And I know some three D modelers who tend to use the move tool nearly all the time to do their sculpting. Use the crease tool for sharp fold in the surface of what you are doing. Use the flattened tool. To smooth out the various different areas so you don't get the kind of blobby, ill defined form. Okay, so to finish off this lesson, I've got a little exercise for you, which I would like you to do several times. I want you to create a new object. I want you to spend about 30 seconds using the clay tool and moving things around and pinching in and out to Zoom and too fing a drag to move up and down side to side. Then I want you to spend up to 30 seconds moving your form around like this, not trying to create something, just playing with it, and play with the size of the brush, or to play around with whoops. Let's drag that back down to four wide and play around with just pushing and pulling things around. I want you to spend 30 seconds just making a few creases, maybe inverting it and making a few sharp ridges, and then spend another 30 seconds playing with the flatten tool like this. Again, it looks like nothing. That's all I want. Just tinker with the tools. Get used to them, get used to moving things around, get used to making things bigger or smaller with two finger drag. Get used to two finger tap to undo, get used to three finger tap to redo. Get used to say tapping where it says right, where I'm circling to look at this from the right hand side, or try looking at it from the top. Two finger drag. If I tap again on the top, it toggles to the bottom, tap again, it turns to the top. If you get too big like this, come to your little icon to make everything fit on screen. That's all I want you to do. If you can get to the stage where you feel comfortable doing just these simple things, you are well on your way to creating a whole range of objects within nomad sculpt. Okay, so I think this lesson is so important. What I'm going to do, I'm going to create a short PDF which covers the various things we've done in this lesson. And repeat today's mess for everything up to 5 minutes whenever you get lost on a new project. So that means the future you will swear at Nomad and me less. Right. In the next lesson, we will still be covering basics, but this time, I want us to actually build something. I think we might build. Let's try Goblins head, shall we? I think there comes a certain point where you think, Okay, great. I've made a mess. Let's make something. So next lesson, let's make something, and I will see you there. 4. Primitives, the Gizmo & Multirez: Okay, before we get started on our very simple head, that is coming up. But I wanted to go over a few basic but also very practical things. The first thing, if you remember, I came up to the top right tap the icon I'm circling now, which has things like the interface, the gestures. And if you remember, I put on palm rejection because you spend a lot of time resting the side of your hand on the iPad when you draw. And if you want to make your life easier and have a smoother experience overall, it's a good idea to use a special glove where basically it covers the side of your hand plus your little finger and maybe a ring finger. And it makes your life easier because there's less chance of you doing accidental brushstrokes and things like that using your palm. Also your hand just slides across the surface of your iPad or Android tablet or drawing tablet. And as well as your hand moving more smoothly across the surface, you get less moisture from your hand on the surface of whatever you're doing. Now you can buy these online, and some people charge rather a lot of money for it. But here's a tip for you, which I've also spoken about on one or two of my other courses, especially in my procreate courses. Instead of buying that expensive specialist glove, you don't need it. Buy yourself a packet of cotton gloves. You can buy them online for about the price of two cups of coffee, and you get dozens and dozens of these little cotton gloves in one pack. Now, it looks like a regular glove, but this is what you do. And I'm showing you a photo of it now. You take your glove and you cut away the first three fingers, plus also the thumb, and you leave a little bit on the end just to slip over your wrist, and you end up with something like this. Only your little finger plus the side of your palm and a little bit around the wrist is left. It won't leave any moisture from your palm. It glides across the surface of whatever you're drawing on really easily. And instead of getting one expensive glove, you have practically a career's worth of gloves because if one wears out, you just make another one. Now, my recommendation for you is make sure that only your little finger is the finger that's covered by the glove. The reason being as you saw in the previous lesson, you can do two fingertaps to undo and three finger taps to redo. And so if I'm redoing, I want my first three fingers free so I can do the redo tap. Anyway, that's the first point. The second point, look, if I come back to my clay tool again and I start making brush strokes like I did before, and then I decide I want to either subtract or smooth. Here's the thing. If I tap on my subtract, yes, I can start subtract. But then what happens is, you may move on to another tool, then come back to your clay tool. You've probably forgotten that you've turned subtract on, and you're not gonna notice it until you start doing brush strokes like this and thinking it'll hang on. Why am I gouging out areas rather than adding areas? Oh, yes, oh, dear. I didn't turn off subtract. So I turn of subtract again and carry on. Believe me, that is gonna happen to you quite a bit. And so the second choice, where you hold down, subtract. Well, you can see because you can see my little icon on the subtract button that it's held down. I find that button to be a little bit small. And sometimes I think I'm pressing it, but I've kind of got it wrong. I might be pressing slightly off to the side of my screen like this and thinking, Oh, great. Now I've toggled to subtract and I start trying to build up stuff. And it doesn't work. The exact same thing with smooth. I've been caught out enough times by the subtract button and the smooth button that I wanted to do something about it. Now, you can do this using keyboard commands. Like, if you hold down your alter option button, that toggles on the subtract button just as long as you hold down on a keyboard. And if you hold down Shift on a keyboard, you get to smooth things out only while you're holding down the Shift on your keyboard. Now for most tablets, you can get a built in keyboard. You know the kind of thing where? It's part of the case that your iPad or Android sits in. But those keyboards are attached to the case and they fold out and you can use it for things like typing or whatever. But when it comes to drawing, I like to have the iPad on my lap. I don't want to have it standing up just so I can access the keyboard. So I found for me the best solution is to get an external keypad. Now, in my case, I use this one. This is a Huon wireless keypad. It's wireless, so I can just have it next to me on my desk or whatever, while I rest my iPad on my lap, I draw using my right hand because I'm right handed, and my left hand is resting on my wireless keypad. Now, you can see, I put little stickers on it with things like altered delete plus the clay tool and different other tools. But really, the main thing I use it for is just holding down the Alt key or the shift key. As long as you hold down the lt key, you'll have subtract, and as long as you hold down the Shift key, you'll have smooth. Take your finger off and you click back to adding things or in the case of smooth, you might go back to the tool you were originally using. You might go back to, in this case, the clay tool. I'm telling you this from now because if you decide you want to get serious with something like nomad sculpt, I found that to be a good investment. Now, I'm sure you can get similar things where you plug it into the charging port of your tablet. But here's the thing. Nomad sculpt can burn through your battery life like no other program I've ever known. It is amazing how quickly your battery life drains. So the tip from that is, when you start anomad session, try and make sure that your tablet is fully charged. As for that little wireless keepad well, it's wireless. So if need be, I can plug my tablet into my charger so that I know my battery isn't going to drain. Okay, let's do a little bit more with this lesson. In the past, we've come up to here the project menu, and we've created a new project. Well, I don't want to do that. Instead, I want to introduce you to the next icon along here. This icon shows you scene menu, and it shows everything you've got in your scene. Now, in this case, well, look, the one that's highlighted is this sphere. And if I come to this little eye icon, which I'm circling, can make it invisible or visible. I can make it active or inactive. See I'm not drawing on it. If I come back, I make it active again, now I can draw on it. But the fact of the matter is, there's a whole load of different shapes that you can use to sculpt. So, in the case of this, this sphere is highlighted. I will come up to delete. So now I have an empty scene. If I then come to this icon, which I'm circling called add tap on that, well, look, there's your sphere, but I have a whole load of different other shapes that I can use, supposing I want to use a box like this. I get a box primitive because these are called primitives. And if I want, I can two things pinch inwards to zoom out a little bit to see what I've got. And you've got these little lines and little dots. Well, using them, supposing I come to this one here, I can stretch it out or make it thinner. I can do the same thing here. I can squash or squeeze it using that middle one. If I come to this one, I can stretch and squeeze that, same with this one, and I can move and squash and stretch. Now, this is all great. Oh, look, I've got this. I can scale the whole thing so it's bigger or smaller. This is great, and there's more to these primitives than I'm saying right now. But here's the thing. If you take a look at my various tools on the right hand side, you notice they're all grade out. I can't start to sculpt this until I do something called validate. So, here it is. I'm just circling it now. It says validate, tap on that. And now, if I want, I can start. To sculpt it, let's just turn on wireframe SC, what I've got, turn it off again. Come back to our scene menu. And if I want, I can come to these three little dots, and it gives me more options. Now, the one I'm interested in for now is naming it, so I can name my box to flat box. Because I'm very imaginative with my naming. Come too, and it's there. If I decide I don't like it. Well, okay, I can delete that. I can choose another primitive. Give this a try now. Choose I would safer now choose any of the top four. And yeah, the second four icons, as well. Choose one of those. I'm going to choose, say cone like this. Remember, I've got my little control dots where I can change the look of it like this. Make it thinner or smaller. And if I want to sculpt with it, I come to validate and I can start doing things with it. Don't like it. Come back. Delete it. Come to add. Let's try a cylinder, play around for a little bit. And yeah, let's validate it. But now I'm gonna come back to my s menu, come to add, and I'm going to add something else. Let's try a sphere, shall we? Now, this you can see I'm not really able to move it, but I want to make it a bit smaller. I want to move it around. Maybe I want to make it so it's flatter in one direction. Well, I can do that by coming down to this. The one I'm circling now, the Gizmo. Tap on that and you get Well, that, that is the gizmo. I can come to this top yellow arrow and move it around like this. I can rotate it, although you may not be able to see that very clearly. Let's turn on wireframe. And you can see, when I come to this, say, this blue, it looks like a ball with a blue line going through it. If I drag on that line, it turns yellow, and you can see the whole thing is rotating. Similarly, if I come to this red line, it turns yellow, and I can rotate in that direction. I come to the green one, I can move it around in this direction. I can move it around using the green arrow, I can move it around using the blue arrow or the red arrow. I can also scale it. And if I want, I can come to this see that circle just when I'm hovering over it. That turn yellow. If I move that, I can move it around. And the way it's rotating is parallel with your screen. Look, if I try, say moving, if I try, say rotating, using this red circle. It's kind of moving at a bit of an angle to the screen. If I try this one, it's moving around at a bit of an angle to the screen. It's not parallel, but if I come to this one, that's rotating at the exact same angle as your screen is. Now, finally, you've got these little dots here. These are your scaling dots. If I come to this one and I do this, can you see I'm flattening this down if I come to the blue I'm flattening that. If I come to the red one, I can flatten it or I can make it bigger, and I can still rotate it around like this. Now, you may notice, Look, I'll bring this over here. You notice how I've got something red, something green, and something blue? Well, those are the different axes that you can move or rotate or scale things in. And if you take a look at, say, this green one here, oh, look at this. Green moves things top to bottom, the red axis moves things right or left. And the blue one Can you see that? The blue one can move things or scale things front to back. And these are your X, Y, and Z or Z axis. Look, if I call the mirror tool again, can you see? I've got different planes here. Let's call that up again. For the symmetry, you've got three planes. You X axis, that's your left to right, and that's red. You've got your green axis, that's your Y axis, that moves things up and down, and you've got your Z or Z axis. That's your blue one, that moves or rotates or scale things front to back. Okay, I'm going to validate my sphere. The gizmo is still selected, I can still move things around. I can still scale them. But because I've now validated it, if I come to my clay tool, for example, yeah, I can start to move things around. If I come to my flatten tool, I can start to Whoops, I made a mistake. I was supposed to click flatten, but I missed it. So two fingertaped one, do that. Come to flatten this, this time it is chosen. Me my radus a bit bigger. And I can start to flatten it. Now, you may notice with this because I've moved it around in different axes. You're getting some slightly unpredictable results. Like, if I flatten this bit here, can you see where I'm circling that little dot, which is supposed to be my mirror dot? Because I've moved my sphere around, it's not quite doing what I thought it would do. See what I mean? Keep rather strange results. We'll talk a bit more about that later on. Now, the final thing I wanted to talk about here was if I come back to my scene menu, I've got two things here. I've got a cylinder, which I tap on it, and it briefly flashes purple. That lets you know that that is a currently active object, and if I could bring my tool here to it, that's the object that's going to be affected by my different tools. If I come back to my scene menu and choose my sphere, that is what's going to be affected by my tools. But there's more to it than that. Look, if I come back to my Gizmo. I move it up a little bit. Supposing I wanted to move the two of those together, because at the moment, I can only move this one. If I want to move the other one, I have to tap on it, make it the active object, and then I can move it around like this. But if I come back to my scene menu, I've got my cylinder, but what I want is for my sphere to move when my cylinder moves. So what I can do is I can come to my sphere and I can drag it up there. You see that, you get a little yellow line which comes down from the cylinder and across to the sphere. If I let go, that sphere is now a child of the cylinder, and if I choose my cylinder, so it's the active object. And look, I've still got my gizmo, if I move it around, oh, look at that. Because my sphere is a child object of the cylinder, when I move the cylinder or rotate it, or if I scale it, whatever I do to the parent, same thing happens to the child. As it happens, if I was to come to my sphere, which is now the child object, I can move that independently because it's the child. If you've got kids, yep, your child will move around in all lots of different ways. Unless, if I come to my cylinder, I move that around, this is the parent holding the child's hand. So wherever the parent goes, the child follows. Alright, that's all I wanted to do for this lesson. I wanted to talk about how you can add various things called primitives to your scene. I wanted to show you that you can rename them, and I wanted to show you that you can link them together so that you can make the sphere, in this case, a child of the cylinder. And I also wanted to show you the Gizmo. Right, I am going to delete both of those. Let's give this a try just for a bit of fun. Come to AD. Come to Taurus. There's your Taurus, and I'm going to come to these little three dots here, which gives me some more things that I can do with it. What I want to do is come down to outer radius, play around with it a little bit, make it a bit smaller, inner radius. Can you see that? When I do this, you can affect what this looks like. And if I come back and tab again, you've got something here called division X. At the moment it says 36. If I put my pen on my finger on there and slide it to the right, you can see I'm getting more and more and more faces. Let's take that right the way up to something like, say, 100 plus 98, let's make it 100. And then I'm going to close this by coming up to this little X in the top right, and I'm going to validate this. I'm going to turn off wire frame. Now, there is a program out there for the desktop, which can do this stuff and a whole lot more called Blender. And there's a very good tutor called Blender Guru. And by far, his most famous tutorial is how to make a doughnut. Now, we're not going to go as far as he does, but just to finish off this lesson, why not have a go and maybe try to sculpt a little doughnut. I'm just going to start with this. I'm not going to do the whole thing. But I'm just going to put maybe a little bit of cream on top. I'm not going to put any paint on. We will do stuff like that later on, and maybe I can use the crease tool to add a bit of a sharper point there. Oh, look what I just did. Do you remember me saying, these two little buttons here, you will often forget whether you've flipped them so that instead of cutting into the shape of that doughnut, I was gouging it outward, so I will turn that off tiffing a tap a couple of times to get rid of that. And I can start to do a bit of icing around here. Move it around. You don't have to do this. But I just thought just to finish off just for a little bit of fun, you can maybe try and make a very, very simple. Doesn't have to look good. Doughnut. We can come back to our clay tool. And you know what? I'd like a few more polygons with this. Because if I come to our wire frame, you can see, I haven't really got enough polygons to give a smooth surface to this doughnut. So what I can do is come to the third on along. And this is the multi resolution. Now, at the moment, look how many polygons we've got. Come on, let's zoom in on this and come back. There is a button here called subdivide. If I tap on that, you see that? Every single little square got subdivided. So now there's four times as many polygons in there. If I subdivide again, I'm getting a really, really fine mesh. Let's come out and turn off our wire frame again. Now, when we start to try and sculpture you're going to get some smoother lines. If you really want to emphasize that, come to the Smooth tool. And you can smooth out your various different polygons and what have you. Now, very last thing. Here's a new tool for you. You've used the clay tool to build up the surface. There is another tool which works in a similar way called inflate. This does something similar, but it makes more of a rounded mark. Look, I'll show you. I I comp to the underside and I use clay, you can see I get a fairly flat drawing stroke. If I then come to inflate and do the same thing, can you see how it's more rounded, more blobby? So if I'm doing something like icing, the inflate tool might be a better choice for this. I will to fingertap a few times. Bring the whole thing around, and maybe I can use the inflate tool to get more of a rounded blobby icing effect, which I'm doing now. This is me working at breakneck speed. I'm not going for great art here. I'm just going for well, show the technique. And if you want to carry on doing this, just in your own time, just for a little bit more practice and to learn a new tool called the inflate tool, then great. Maybe if I come down to my smooth tool, I can smooth things out a little bit. And I know it's a very simple shape. It's fairly easy to get something whilst showing you how to use the tools. But there you are. Your first, very, very simple shape, a doughnut. And the various tools I've shown you here, at least some of them we will be using in our next project, which is our very simple head project. So I thought I'd show you these tools now. I see menu, the inflate tool, and also how to subdivide to get more geometry. These are going to come in useful when we do our next project, the simple head. Let's get started with that. 5. Goblin Head 01 - Multirez: Okay, so we did say we're going to do a head, because I think 90% of the time, one of the first things that people try to model is a head, so great. Let's do that. I'm going to be doing kind of a goblin head or an chad. And the reason for that is we're still in baby steps at the moment. We're figuring out the tools and the workflow. I'm trying to do an ultra realistic portrait of Jean Luc Picard of Star Trek. That is way too big of an ask. And you'll spend all your time thinking, Well, it doesn't look like the person I want it to look like while you're trying to learn everything else. But with a fantasy head, like a goblin head. Well, it's gonna be big exaggerated shapes, big nose, big chain, evil staary eyes. And because it's a fantasy creature, it doesn't exist. It takes the pressure off you to create something that looks very much like something that exists in the real world. It can be any shape you want. It's your creature? Your choice. Okay, so let's get started. If you haven't already, camp up, too, our project menu and just tap on new to create a new project. Normally, the first tool you go to would be the move tool, so let's tap on that now. And at this stage, we're blocking out forms. We're making big shapes. We are not going to do wrinkles just yet. We need to define the larger shapes first. So to do that, I'm going to pinch inwards a little bit to zoom out. I am going to make sure that I'm facing front is facing down and towards the left. And so when I start doing things like pushing in on either side, remember, symmetry is turned on by default. I'm going to correct the basic shape of the head, and I know that this bit here that is the front of the head. If I turn around more to the right, well, you can see it's a sphere shape. A human face or humanoid face generally tends to be a lot narrower than a sphere. So the first thing is, I'm pushing in various bits. I'm going to try and make the front slightly narrower than the back. And if I drag down, you can see now I'm looking at this pretty much from the top. I'm going to pull out the back end ever so slightly because the human skull is wider at the back. Now, I realize I'm playing two games here at the same time. On the one hand, I'm saying, It's a humanoid face. Do whatever you want. Be free. But at the same time, if it can obey some of the general characteristics of a human skull, but just with exaggerated features, then it helps sell the final idea of this humanoid face. Anyway, I'll carry on pushing and pulling, making things maybe a bit bigger at the top than I do at the bottom. Let's come round to the right hand side, and I'm going to push upwards a little bit, so the back of the skull looks more like the back of a skull. Let's make my brush size a little bit smaller to try and help to find things. Now, I wonder if I'm gonna get the classic mistake, which people do. I'm looking at this from the side, and I'm thinking so far, Oh, yeah, this is working. This is starting to look more humanoid, maybe a larger chin for kind of a goblin shape. Now when I start turning things around? Well, in this case, it's not too bad, but really, the base of the skull needs to be bigger like this. I wouldn't have realized that until I turned from the right to the back. So, as I said, everything everywhere all at once. You don't want to concentrate on one particular area and get it looking just how you like it. And then when you turn around and look from different angles, you realize that that one particular area looks good in one particular area at one particular angle. But then when you turn things around, not so much. So just carry on creating my very basic form. More bulging out here, maybe just for now, a little bit flatter at the top. Okay. I've got a very, very basic shape here. Let's do something we haven't done before. Let's, I don't know, save the project. Come up, too, our project menu and come to save us. And then I want to tap new. And let's save this as Gobel and Tutorial 01. As we go on, I'm probably going to save the same project with different names. That way, I've always got my very basic shape here, ready to do something with. The more I look at it, the more I think, No, I want to change this bit, I want to change that bit. At this point, there is no one particular form, and there is nothing that can't be changed. So try and be playful. Try and be a little bit bold. I know that's an easy thing for me to say, because right now, you're probably quite nervous about this because you're just not used to doing it. Well, believe me, the more you do this. Well, let's put it this way. So more experienced users of three D software will just spend 20 minutes making a head of some kind just as a warm up. So I know this feels a little bit strange at the moment, but it will get easier, I promise you. Alright, so I've got something approaching a basic shape here. So now I'm going to swap to my clatol and just start building up shapes and defining forms. Like, for example, I wanted to find the eye sockets. So I will come to my subtractol. What's my intensity on? Let's take that down a little bit. I'm around 50% mark. Symmetry has turned down, so let's put in some eyes like this. Now, here's a very common mistake. When people do this, let's undo that a second. People think eyes go at the top of the head so they'll do eyes appear somewhere. No bad idea. That cavity in your skull, where the eyes go, that's around about the halfway marks one. I'm just going to mark that in about there. Take it around a little bit here and maybe sink the cheeks in a little bit because well, this particular goblin has sunken cheeks. Then I'm going to come to my subtract button on the side, turn it off, so I'm adding or building up detail rather than gouging detail in. I'm going to build up the eyebrows because this particular goblin has thick eyebrows. I'm going to build up the cheek bone area as well, sharply defined cheek bones. Remember, it's a fancy creature, so I can do whatever I want. I'll make my brush size a little bit smaller. I can also zoom in a little bit. And there's a little line which goes from the side of your skull up like this. So I'm going to put that in as well. Maybe take the eye sockets round like this and the nose. Come on, let's put the nose in. Gradually build that up like this. This is going to be a big nose by the end. Nice, exaggerated features. I'm not going to do the nostrils just yet. I'm just going to build up the nose like this, maybe just maybe. Brush side a bit smaller. I put down the side to the mouth here. Maybe something approaching a bit of a pointed chin. All of this is going to be changed as we go along. Looking at this from various different angles. Yeah, that brushes too small. I need to build that up a little bit more vigorously, maybe make the chin more clearly defined like this, maybe take the cheek bone back. Because the year is going to be somewhere around here. Now, that's looking a bit different to what human skull would look like, but that's okay. It's fancy. Let's not put pressure on ourselves to make this look anatomically really correct. Come back to subtract, make the brush a bit bigger, and maybe lower the intensity a little bit, just to put in the size of the temples like that. On that skull, look, making the brush size bigger or smaller or zooming in and out, yes, that is important. So you get bigger shapes and smaller shapes or thick shapes and thin shapes. Sunken areas and areas that stick out. When you do this, you are obeying well, what I call the second universal law of creatives. Three universal laws for any creative. The third most important rule is a three word rule. The second most important rule is a two word rule, and the absolute fundamental, most important rule for any creative is one word. So the third most important rule for any creative is three words. Things started. You stop sitting there being afraid. You stop counting your paper clips because they need counting. You stop making yourself a cup of tea, and you stop complaining about your artistic headache. You get things started. Whether you feel ready or not? Now, in this case, we are doing the second most important rule for any creative, and it's a two word rule. Blend opposites, in the case of this, we're aiming for a model that has opposites in it. Broad, flat areas, smaller, more contoured areas. Dark and light, thick and thin. Saturated colors, desaturated colors. If you're into music, your high notes, and your low notes, your quick passages and your slow passages, it's how you blend opposites together. That is the trick to creating things that are interesting. As for the number one most important rule, which is one word, well, keep doing the course, and I'll tell you that at some point. Anyway, this mouth area needs to come round like this. I need to build up an area here where the lips are going to be. Then I'm going to come back to my mootol because now I've established some basic shapes. Well, I want to exaggerate it. Come on. This is a goblin. Big arched, evil eyebrows, jutty out cheeks, a jetty out chin. Let's come down here. This is looking really quite a pointed chin. I want to move that out a little bit. I want to have a little bit more space so I can define the mouth. And again, it's everything everywhere all at once. Keep turning your model round. I need a jutty out bit here. I need to make my breast size smaller, maybe zoom in a little bit because I want those brows to be heavy and stick out quite a bit like this. The nose, well, that's going definitely be much more pointy. Come on. Big goblin nose. That's starting to look more like the shape I want. Maybe that chin, just a little bit more rounded, like this. Oh, hang on. Let's take that back a little bit there. Let's take a look at the back of the head. Yeah, I want a pointy head. So this is the bit where I'm starting to exaggerate the form of the goblin. Let's make it more of a sloping forehead like this, maybe a bit more of a pointy back head. Again, keep looking around to see what we're doing. Yeah, 'cause the back of the head is looking a little bit strange, a little bit nondescript. Actually, you can make your biggest changes and you can make your biggest changes more smoothly to the model with the less amount of polygons you've got. If you've got load loaded polygons, the tools you're using from your toolbox, that's where all the tools are stored, are going to work in slightly different ways. And so here's something that I can do. If I come over to the multi resolution menu, I've got a slider here with one, two, three different notches. At the moment I'm working on the highest resolution that I've got. In fact, let's show you this. Let's come down to my wireframe and turn it on there. If I then come to this slide, and I move it down one. Did you see that? I'll do it again. I'll move this slide to the first notch, the far left notch. Any primitive you create comes along with something called multi resolution. And most of these primitives start out with this, which is the very lowest resolution. Then there's kind of an in between resolution where you get more polygons and this where you get the highest default amount of polygons. Well, let's go back again. That's your lowest. And if you take a look at this top bar, see where I'm sliding on and off to highlight it. This tells me that I've got 6,146 points, the zero triangles, and 6,144 polygons. That's the little squares appearing on the screen. If I then take my little slider and move it to the middle position, well, every single polygon suddenly divided into four smaller ones. Now I've got 24.5 K polygons to play with. Oh, well, now I've got 98.3, just short of 100,000 polygons, which you can see on your screen. Now, the more polygons you've got, the more fine detail you've got. But let's see if I can do something with this. Just temporarily, I'm going to subdivide, so now I've got 400,000 polygons, and I'm going to subdivide again. So I've got just over one half million polygons on my screen. Now, you may be thinking, Well, great. Lots of fine polygons. I'll turn the wireframe off. I'll come to my move tool. And supposing I want to do something with the back of the head, so I'm going to move things around and it's not that easy. Can you see how I'm getting dimples in there? I'm not moving large groups of polycons around at the same time. I'm getting a border just along here, for example. I can just about see a border here as well. That's not what I want. I'm not creating large smooth shapes. I'm creating little indents, which I'm not so keen on. If I then come back to my multi resolution menu and I'm going to take this all the way down to the lowest resolution I can get my hands on, I've got the same brush, same view, same size. And now I'm going to move things around like this. And now, if I come to my multi resolution slider and slide it up to what we had before, I'm getting a smoother effect. When you are creating these big broad shapes, you don't need higher resolution. In fact, it can work against you. I'd subdivided it two times in night. I'm going to take it down to where it was before, turn on wireframe. And I'm going to delete higher because I just wanted to demonstrate something, so I'll delete higher and we're back to where we started from. Let's turn off wireframe and just do a little bit more around here. Come back to my move tool, I think the front of the mouth needs to be a little bit further forward. Quite often, when people are doing stuff like this, the whole mouth area is very flat like this. Well, that doesn't really work. If you take a look at someone's face on the side, you can see quite a bit of the lips, quite a bit of the cheeks, as well, but mainly the lips, you notice they do come forward like this. Okay, so I'm narly there with this with just doing the basic blocking in. But I know I'm going to run into a bit of a problem. Because, well, look, supposing I want to define that line that runs from the side of your nostril down to the side of your mouth. I can come to the Crease tool and I can just draw this in like this. And supposing I want to do the line of the lips, as well, come on. Let's give a very nice downward turn to the mouth. My brush slice is too big to do this. Can you see how I'm doing it? I'm pulling in too many bits from the side. I need this to be a sharply defined crease. I need this to affect the surrounding geometry. Not as much as it has, so I'm going to undo that a few times. Come on. There you go. Uh, no, let's redo. I want the nose to be wider. I'll make my brush size smaller. I can get a better effect now? Yes, I can. And slightly downward turning mouth like this because this isn't a very nice gobling. No one of your friendly ones. And maybe I can put a little bit here, just a start. Where that crease between the eyebrows goes. But you can see I'm running into a problem. If I turn on my wireframe, look at the end of that nose. That simply does not have enough polygons to give me the kind of detail I need, even at this crude stage of blocking things in to do any significant sculpting. You compare that with, say, the back of the head. Well, that's got plenty of polygons to play with, but I don't really care about the back of the head. There's not a lot of detail that I need to put in there. All the interesting stuff is at the front on the face. Now, I could do what we did before. Come to a multi resolution, Okay, let's do subdivide. And subdivide again. Well, now I've got more polygons to play with in the nose area, but I've got a ton of polygons at the back of a head, which I simply don't need. And come up to here. This is something that you're going to be looking at a lot. The name of my primitive is called sphere, and I've got 1.5 million polygons. The more polygons you've got, the more your tablet or your computer is going to slow down. And the amount of polygons you can have depends on how much RAM you've got on your system. If you keep on doing this and you keep on adding polygons, there will come a point where whatever you're using will slow down. If you do too many polygons, certainly on a tablet, which doesn't have as much RAM on average compared to a desktop computer, there is a chance that the entire program could crash. So this is not the way to add extra detail. There are a couple of ways, and the main one you're going to be using is something called voxel remeshing, and that is what we will talk about in the next video. I will see you there. 6. Goblin Head 02 - Basic Shapes: So in the end of the previous video, I was pointing out a problem where I've got plenty of polygons around the back of the head, but not enough polygons in all the detail areas, especially things like the nose. I could also do with some more detail around the shape of the mouth, as well. So, in short, plenty of polygons in one place, not enough polygons in another. So we're going to use something called voxel remeshing in this video. I'm going to come and I'm going to save as, tap on that. And I'm going to create a new name for this. I want to have several different versions of what I'm doing as we go along. So come to new gobbling tutorial two. Great. It's already renamed it for me. Click on Okay. Now I have Goblin Tutorial two. Now, Vox already mashing. Let's come to this icon at the top. And at the moment, the panel I've got is something called multi Rs. Well, we saw that before, didn't we? Let's take this down a little bit and get rid of the higher resolutions. And let's make sure you can see particularly the detail around the face and open up my panel again. Now, instead of coming to the multi Rs panel, I'm going to tap on this one, which I'm circle to call voxel. Voxel remeshing. The two buttons I'm interested on are either the remesh button, which I'm just flashing on and off by hovering over. I also have a slider here called resolution. That is important. You will use that a lot. Now, at the moment, it's set to 144.94. If I come and I place my pencil or my finger on the resolution slider, I can drag in and out like this. And you see that little checker pattern which gets bigger or smaller as I move around? That's giving me a preview of how big the polygons are going to be once I tap that button above called remsh. Now, at the moment, I'll take this to somewhere let's trade around, say, 130 mark. And now watch what happens to the model when I tap remesh. I'm tapping remesh now. It says, Multi resolution will be lost. Do you remember we were playing around with multi resolution? Well, we had a small amount of polygons and a larger amount of polygons, depending upon that little slider we were sliding around. That was multi resolution. That will all be gone. You will get one level of resolution with this. Okay, so I'll press Okay. Look at that. What voxel remeshing does is it takes a look at the resolution that you've done, in this case, 132.79. And it knows what your three D shape looks like, and it gives you a new set of polygons, in this case, about 40,000 polygons. And it redistributes the polygons around so you get a much more even spread of polygons rather than not enough polygons in the nose area. So now I have extra detail on the nose, which I can use to create more clearly defined forms. And that works a lot better than keep on subdividing or subdividing and getting a whole load of polygons that you don't need. Okay, so now at this stage, I can carry on working much more efficiently than I was doing before, because I have polygons in the right place to play with. You will end up doing this quite a bit. And at this stage, I still only have about 40,000 polygons to create this head. That's not many at all. Later on, we will take objects into a much higher resolution. You may have millions of polygons there, and that is the point where you start adding in much finer detail, things like wrinkles, skin pores and things like that. But not yet. At this stage, I'm still blogging in large shapes. Okay, so I'm going to tap close that, and now I can carry on. Incidentally, if you can write down to the bottom, you can see you have a number of icons here, and one of them is Vauxhall. And if you press and hold, you can see the sliders we were using in that top menu, but instead, it's down at the bottom. These little icons at the bottom, this does the exact same thing, but it's in an easier place, so you don't have to go searching through the menus at the top and trying to remember where the particular Vauxhall remesh buttons were. These are just very quick buttons at the bottom to give you instant results, but they do the same thing. Alright, so I'm going to turn off wireframe, and you can see I've still got a blocky effect there. That is okay. At this stage, you get used to the fact you're going to be seeing a lot of these little faceted polygons like this. Now one thing you can do, for example, is you can come to the smooth button just where I'm circling, tap on that, and you can start to smooth out these different areas. And it's tempting to do that because you want the model to look nice at all different stages of development. But the more you get into this, the more you start to think, Well, I know sooner or later, I'm going to be smoothing this out, but I have more polygons. So if you can learn to live with that slightly faceted look and just get used to it, then you don't have to spend a lot of time smoothing out areas, but you're going to end up fasted anyway because you're going to be using voxel remash quite a bit, and these fasted polygons are just going to keep on reappearing. So I've got more detail there to play with so I can start to work on things. Let's come to our claytol and maybe I want to start building this the ends of the nose up like this. I want it to be pointed but not quite that pointy. Take a look, everything everywhere I want to look, you see there. I was doing the sides of the nose, but the top of the nose, that needs building up as well. So everything everywhere all at once. We can build up the side of the nostrils as well, like this and maybe come to subtract and just provide a little bit more definition just on the side of the nose and maybe do that middle ridge of the nose, so it's got a little bit more of a nose like shape, maybe come back to subtract, turn it off, build up here, maybe provide a little bit of a heavier brow just at one particular place. Maybe the sides here, bring that down. Maybe I can build up some jaws just down the bottom, like this. Come subtract. Maybe start building up a larger lower lip like this. Maybe put in that little dimple you get at the side of the nose like this and gradually build up the shape, turn off, subtract and build up the shape here, maybe the top of the lip like this. If I come to my crease tool, I can put a bit more definition here. And if I invert, so instead of gouging out something, I'm going to build up a fairly sharp edge like this, just to define the lips like this. Let's give them some fairly large lips, shall we? Can you see that? It's still looking crude, but I'm starting to get the shapes that I want. I want to smooth off this little bit here. Turn off smooth so I come back to my crease tool, and it's on inverts, so I'm creating a sharp edge here, build that like that. Maybe put a crease down the middle of the nose, so turn off inverts so I'm now cutting in and put in a little crease here. Yes, I know it looks crude, but we're still blocking in shapes. Not sure that's working. Let's come to smooth. Maybe I'll put that in when I've got a higher resolution mesh. One thing I will do, though, is I will come to my inflate tool and I'll set it to subtract because the inflate tool is very good. Doing these sharply defined areas. Now, can you see that again? If I turn on a wireframe, I've got almost no polygons to work with here. Not a problem, if I come to vox or remash. For now, I'll just leave it on the same resolution setting as before 132.4 and remash. And when I do that, there's more polygons in that area to work with. I had wireframe on because I wanted you to see what was actually happening there. Normally, when you work, well, you don't really need have wireframe on all the time, and sometimes it can be a little bit distracting. So from here on in unless I have a reason to, I'll try leaving all the wireframe off. So take off subtract. Remember, if you just rest your thumb on the subtract button, you can toggle between the two different states. So rest my finger on, and I'm gouging out fairly deep in don If I take my thumb off, can build things up and up. The inflate butt might be good for doing this big nose that I want to do here, maybe a little bit on the top, maybe do the eyebrows a little bit more here, what about the side of the face, the cheeks? I can build up shapes there, keep on turning it round all different angles, all at once, and maybe flesh out the back end of the jaw like this, maybe take these jaws, so they're a little bit bigger, as well, how's that worked? Yeah, pretty much. Oh, also, hold my thumb on sub again at the side and just read a little bit more of definition underneath the mouth like this. Take my thumb off, build the chin a little bit more. No, I think those jaws are a little bit too much, so I will rest my thumb where it says smooth at the side and just smooth those down a little bit. And now what's happened here? Can you see all my tools at the side have grade out? Oh, what have I done wrong? That's simple. Somehow I've managed to deselect my object. I just tap on the object again. It flashes purple briefly to let you know that is the active object that your tools are going to affect, and everything comes back on again. Alright, so what I'll do is I'll come to my project, and I'm happy to overwrite Goblin tutorial too, so I'll just come to save. Yes, I want to save, and yes, I'm happy to overwrite. There. Okay, that is the basics of Vox remeshing. In the next video, we'll carry on and we'll start by talking about something called MCCAps. Alright, we'll see you there. 7. Goblin Head 03 - Matcap & Barrel Roll: Okay, let's carry on with our gobbling. Now, I've gone straight into this tutorial straight on the back of the previous one. It might have been an idea if I went away, made a cup of coffee, do something else, and then come back because when you do that, you're gonna look at your model with fresh eyes, and you're gonna notice various things that you want to change, like, for example, with this. If I look at that nose on the end, yeah, that needs a fair amount of work. And also, I want the face to be a little bit wider around the eye area. And you'll do that. You'll notice various things, like, Oh, I like that bit, but I don't like that bit and so on and so forth. But in the meantime, I did mention we're going to talk about something called MTCAps. To show you that, I'm going to come up to the icon I'm circling now. This is the shading panel because there's various different ways to view your objects within nomad sculpt or pretty much any three D sculpting program or pretty much any three D program. And depending on where you are, the different ways of looking at it can help. At the moment, we're looking at what we're doing using a shading model called it PBR. PBR stands for physically based rendering. Any three D program I can think of and I've used quite a few works by within the little computer world behind your screen. It shoots out little rays of light which bounce off the object that we're working on and then back towards the camera, which gives you the shadows and the highlights and whatever. Now you can do a lot with this. However, we're just modeling at the moment. We're not looking at this as a final finished picture or what we call a rendered image where the computer renders out all those little rays of light and gives you a picture. Instead, I'm going to come to the next icon along called Mt cap, which, as you can see, stands for material capture. I want to tap on that. And when I do, everything changes. Now, a mat cap is just a way of helping you visualize what you're doing when you're modeling something. And certainly, looking at this, because I have a not white texture and a texture which looks more similar in tone and shininess to the final object, that gives me a better idea of what it is I'm looking at. And it will help me while I'm modeling this head to visualize how it looks. And if I come back to my menu, you see where it says, Mat cab? I'm using something here called Linco mud. If I tap on that icon, I have a whole load of different mac caps. Like if I come across one, tap there, I get a different effect. If I come down to the one beneath it, I get a much more different effect. Now, if I was modeling something which I wanted to be brown but strongly lit from the top, this might be a good mac cap to use. If I wanted something which more of an orangy color, but sharp little points of highlight. Then I've just selected one which could do that. This is not what your final image would look like. All it's doing is, it's looking at that reference picture, that little orange sphere, and it's letting you know that supposing that little white highlight, it's saying that, Well, that's a certain angle on that sphere. Pretty much directly toward us, slightly up and slightly to the right. That means your model, no matter what angle you turn it around at, any of those polygons which are lying at the same angle as that sphere are going to have that same little white point of light. Similarly, let's move this off to one side for a second. Any of those polygons which are pointing out to the side and down a little bit, are going to get those darker tones that you can see in the mat cap. So choosing the right mat cap is really going to help you to decide the look of your final object. So let's just find one, which I think is going to give us a fairly decent of what I want the final goblin to look like. That's too bright. That's too dark. That's getting close. In fact, I think I'll probably go with that one, which is Kanaki clay, red gloss. You can see plenty of definition. I can see the three D forms that I'm doing. So, yeah, that's going to work for me. Remember, my final model is not going to be this color. You can paint on your model. You can define how shiny it is. But this gives me a good overall impression of what the three D forms of my model are going to look like if I want to take this to the final render. It's still looking slightly blocky, but here's something you can do as well. If you come to the next icon along called material, and you come down to where it says smooth shading, it's set to auto. I'm going to turn this on, and when I do, it helps to shade the model. If you like, it averages out the light effects over all those different polygons or squares that we're looking at and gives you a smoother result. That could be useful for your final render. Some people like to work like this because it just feels nicer. I'm going to set that either off or auto because I want to see where those little polygons are, especially in areas around, say, the mouth, for example, I know that when I'm sculpting there, it's very clear to me that where the lips meet, I need a sharp edge there, but I've got all these polygons to deal with. So I'm better informed about the choices I'm making with that smoothing turned off. Alright, let's carry on with this. I'm going to come back to my move tool because I still want to affect some of the bigger shapes. I make my brush size larger and my model smaller. I want this exaggerated. I want. The bottom of the face to be a bit narrower. The chins stick out even more side of the mouth to come back like this. Maybe those cheek bones come out a little bit more. Now, here's the thing. Look, if I make my brush sie really big, I can make the entire side of the face move backwards and forwards like this, and I actually quite prefer that. And remember to keep on looking at everything everywhere all at once. But supposing I decide, well, just that cheek bone going back towards the ear, I just want to affect that. So I do that. I think, great. That's fine. But because my brush size is so big, I'm affecting everything around it. Maybe that's not gonna work. Maybe I need to make my brush size smaller. So I affect just that particular area. Let's move it around, see if I'm doing the right thing. Yes, I am. I want the top to be more sunken in the sight of the temples. Make the jaw line a little bit further in towards the back. Let's look at it from the bottom. Actually, no, that jaw line needs to be moved around. How does that look when I take a look? Yeah, that's looking better. Should I play a little bit more with the mouth? At this stage, this is where I can go a long way towards defining the character of the shape. Maybe come in a little bit, make my size a little bit smaller and play with the end of the nose. I'm still not happy with that. Oh, yeah, look at that. That's really not working, is it? So push and pull that around. Now, at this point, I'm going to annoy quite a few people, apart from people who have an M four iPad and the pencil Pro. I'm going to come to my settings panel. I'm circling it now, and I will tap on it. I will come to gesture, and then I'm going to come all the way down where it says stylus roll. I'm going to turn this on. The Apple Pencil Pro has something called a roll facility or barrel roll facility. That's where if you twist a pencil around, whatever program you're using can utilize that. And in the case of nomad, look, let me show you this. I'll make my brush a little bit bigger. I'll come to this cheekbone. I will pull, but then I will bowl roll. I'm twisting my bowel around there. Can you see? All that geometry is moving around because I'm rolling the barrel of my pencil. When I first saw this, Okay, I didn't quite get off my seat and do a little dance around the room, but goodness me, I was so happy about it. Because this ability to move things and twist things around is one of the most exciting things in three D that I've seen for years. It may not look like much, but it makes the whole business of creating character and playing around with the forms to see what kind of character fft I can get. Look, see that? It's completely changing. Without barrel roll, I would have to do a whole load of twisting and pulling and all kinds of things. No fun at all. But with this, look, there's the shape of the eyebrows changed radically and the character changed radically simply by using the barrel roll. There is no desktop tablet which will let you do this. And on Android, I'm sorry. You can't do this, as well. I wish you could. I really, really do. And I wish it wasn't just available on an iPad four or later on versions. But there we are. If you've got an iPad four and the Apple Pencil Pro, turn on roll. It makes things so much more intuitive. And just that one little feature means that if I'm doing character work and especially at this stage where I'm defining the different forms and the character of the forms, I will always do it using nomad on the iPad because this is the only way I can get this functionality. Sure, I might export out to the desktop when the desktop version gets released because I have more RAM on my desktop computer, which enables me to do much more finer detail. Or I could always export this out to Zbrush on my desktop, because I have that on my desktop. As far as I know, Zbrush doesn't have this simple, intuitive way of modeling. I may be wrong. If I am, please tell me. But for now, I can't assume that you've got the same functionality I have, so unfortunately gonna have to turn it off. Okay. I'll stop the video now and we'll carry on building up these forms in the next video. 8. Goblin Head 04 - Mask & Pinch: In this video, we are going to create the E, and we're going to use a new tool to help us with that, and that is the mask tool. And the good thing is I can go straight to it because I am used to all my tools being laid out in four columns. And so muscle memory tells me that mask is going to be right here where I am circling. Tap on that. I'm going to come to the side. Now the good thing about gobbling is you take a look, they tend to be positioned all over the place. They can be high. They can be low. They can be towards the back of the head. I'll make them fairly high. Now, what I'm going to do is I'm going to come to the side. You can see I have this little yellow circle with a.in the middle, and I can start to do this. Can you see how I'm just drawing out an area like this? I'll make it vaguely ear shaped. Oops, I blurred accidentally. So I'll take it back a little bit. If I zoom in very close, I hope you can see the various different polygons. What's happening is, I make this very, very small and I turn on wire frame, supposing I come to Hovo just over this bit here, if I come here, you can see, it's finding where those little points are, and wherever it goes over a point, it makes it darker. That lets me know where my sentil is working. The more points you've got, the finer the detail you can get. Let's zoom out a little bit, and maybe make my brush a little bit bigger. Like this. I'm trying to imagine what the start of the year is going to look like. Not the entire ear, where the ear joins the skull. And if I come around to the other side, because symmetry is turned on, I'm getting the same thing on the other side. And maybe make it a little bit bigger like this. If this was a human skull, it would not look like that. But it's a humanoid skull. So I can do what I want and not have to worry about getting it right, so that worry is taken away. Now, eventually, what I'm going to do is I'm going to use the gizmo to pull all of these polygons on the side of the head outwards, and then I'm going to vax or remesh so I have enough polygons to play with. But here's the thing. That area I've just painted in is masked, so nothing's going to affect it. Instead, I'll be affecting the surrounding geometry. I don't want to do that. So I come up to this button here, invert. Now. Well, everything's been swapped over. So now when I start moving the polygons, only that lit up area is going to be affected. I'm also going to come to where it says blur. And the way you do this is you hold your pencil down and you slide around like this, and I'm creating a slightly more blurred border there. That means that a slightly softer edge around whatever I'm going to be doing. Now what I'm gonna do? Well, there's different ways to do it. I can come to my mootol make it nice and big. And now when I pull. Oh, look at that. Only those areas are affected. And okay, the ears tend to come back a bit, don't they like this. And looking at it everywhere all at once, which direction do you want your ears to do? Do you want them pointing upwards? That looks like a bunny rabbit? Let's try. I still looks like a bunny rabbit. They need to be rather sharper and more pointy and maybe a little bit more curved around like that, maybe. Now, look at all that geometry you've got to work with. Can you imagine trying to sculpt with that? Let's try it. Come to Clay. Move things around. Oh, it is a nightmare. Do not want to do that. So, come back to mask, and this sometimes trips people up a little bit. They forget how to get rid of that mask and carry on working. It's very simple. Create your mask, paw things around, do whatever you want to do. Come on. Let's do that a little bit more. Let's come to the Mo tool and move that around a little bit. And once you've done that, come back to the mask tool and clear all. That's made my life a little bit easier. Dopes? I just undid. Redo, come on, redo. And let's come back to our move tool. Maybe just maybe I can move things around now, but you can see I'm having a hard time with this. That geometry is awful to work with. It's all stretched out, and there's simply not enough of it. Not a problem. Come down to the bottom where it says Vauxhall. Resolution 171.6. Okay, we'll go with that. Let's try remshing. Now I've got more geometry. If I turn off wireframe, though, that happens quite a bit when you do voxel remshing. I mean, I've got the polygons there I need to work with, but I'm getting this very textured polygonal effect, which I don't want. So I will come to my smooth button. Let's just smooth this out a little bit. The intensity is set quite high, so this does well, it's a no nonsense job. If I was to low down the intensity a little bit, quite a bit. It gets more subtle so I can gradually build up the smoothness a little bit more easily, like this. And again, we're still blocking in shape. So let's come to, say, a clay brush tool. And let's see what we can start to do with this. First of all, I will set it to subtract. Oops. I didn't press on my subtract button. I thought I did, but clearly, got that wrong. Come subtract. I'm not using my little keypad for this. I'm just doing this as much as possible in the same way that you would do it. But if I was working on this on my own, yes, I'd have my little key dial next to me so that Well, it doesn't make those kind of mistakes. Okay, so again, big brush here, defining big forms. Turn off subtract. I want some kind of an elope, don't I? But also, it's come to subtract again. I need the actual log hole, don't I? That's gonna be about there. For that, again, I will come to my inflate tool. I don't use the inflate tool that often, not as much as some of the other tools, but I found for gouging holes in like this, it's really good. Now, is that? Yeah, that's about where I want it. You can see there inflate is very good for creating these areas where there's almost no geometry, not a problem. Come to voxel remesh. I just tapped on it. I didn't bother opening up just a single fast tap, and I've got much more the effect that I want. Let's start to build this up. That line along the bottom, I'm going to use my flattened tool. Whoops way too strong. Do that. Make it smaller. I'm just going to flatten this. Look, let's turn off wire frame so you can see more clearly what I'm doing on the finished object. I'm going to flatten this bottom part there. Then I'll come back to my inflate tool, give more of an elope there. That needs to be bigger. As you work, you gradually get an intuitive feel of how big a tool needs to be and how intense it needs to be. That's just simply called getting to know your tools, and the more you do it, the easier life is going to be. Let's put a little bit of a ridge behind this here. I think it could do with being flattened in certain areas. Remember, whoops, let's take that back down to four. Rule number two. I'm creative work. Blend opposites. I want to blend in the sharp creases with flat areas like this. That's how I'm going to get character forms. What I don't want is a shape that looks like a 5-year-old spent a few minutes playing around with a plasticine and didn't have access to any of those lovely little plastocne tools that you get to use. I want variations. I want opposites. No, I think, overall, the ear hole is way too high and needs to somehow connect up to the side of the cheekbone. I think I've created a problem for myself here, actually. Right, come to move. The brush size a little bit smaller. I'm going to move that down. That's already starting to look a bit better. But what I am going to do come to flatten. I want to flatten out this particular bit where the jaw line goes back, then I'm going to come to my clatol and I'm gonna try and redefine it. And I made the mistake again. I told you, it keeps on happening. I wanted to build some positive strokes here, but I didn't realize last time I forgot that I'd set my clatol to subtract mode, turn it to add mode. Let's move this a little bit more like this. Starting to work a little bit better. It's still not quite how say human ear would work. But it's a lot better than it was before. Getting too much blah, geometry around there, not enough polygons. So come back to VauxllRmash tap one and he presto, it gets done. Let's carry on working on this here a little bit more. Not happy with the shape here. Let's come to our crease tool, and I want to add a little bit more of a definition there. I also want put a bit more definition hit. Now, I think I know why I was going wrong. You know what? It is really hard trying to talk and design at the same time. If you're not certain what an ear looks like, go on the Internet, get a few different pictures of the ear to use as guides that will really help you. I'm purely working for memory here. I really, really am. I wonder if I come to the Smooth tool, this little bit down here. No, still not enough geometry in that area because I've moved it around, come to Vauxhall tap again. There's my extra geometry. I keep on using the Vauxhall remash for this because we're still at the stage, where we're defining Well, not the overall shape of the head, but the form of the various different things on the head like in this case, the is. And it's a case of just pushing and pulling and playing around the shapes you've got, riding the radius and the intensity. And as I said, the more you do this, the more you will pick up a feel what the different tools do. Whoops. Did a rogue stroke there, get rid of that? Maybe try the inflect tool set to subtract. God out a little bit more here. Now, at the moment, you're watching me work. But the fact of the matter is by now, what you're doing is gonna look quite a bit different to what I've done because we're making different brush strokes. We can't make the same brush stroke all the time. Turn subtract off. And remember, you're doing your own thing here. The objective is to do a head and practice the techniques. Well, to practice these different techniques by doing a head. The objective is not to get yours looking like mine. Just seriously, take that pressure off yourself, okay? Now, what about this pointy ear? I could do with that being more pointy. Come to this new tool, the pinch tool. I will turn on my wireframe for this so you can see what's happening. Come to the very edge of my ear, turn on pinch, make it a little bit bigger, bit bigger, think again. And now what I'm gonna do is I'm going to make a few brush strokes. Can you see how those polygons are all gradually moving towards each other? That's what the pinch tour does. In a way, it's the opposite of the inflate tool. The inflate tool pushes polygons away from each other, whereas the pinch tool drags them all in. It's starting to look a little bit too pinched, I think, in one or two areas. Look, that doesn't work, does it? Ah, now, look at that. That is awful. What can we do with this? Let's try coming to the smooth tool. And can we smooth this out? Yeah, we can. The smooth tool is quite useful sometimes to getting you out of these awful situations where you've done something like that. Let's take a look at that. Now, if I turn off wireframe, yeah, that's giving me the kind of pointy ear that I want. I expect a Goblin to have pointy ears. Now, let's see. Can we move this down a little bit like this? That's starting to look more like I want it to look. I'll look at it from the side, as well. Let's move it to oops. I accidentally put my pen on the bit behind. I want to put this on the side of the ear like this, make my brush size bigger and give more of that kind of shape. I like that. Yeah, that started to look more how I want it to look. Now, let's come back to my clay top. I want to build up a bit here for the side of the and also come to Vauxhall once more, remesh it. I just want to put in the round bit here. Also, you get this little kind of Y shape effect on the ear, which kind of comes round like that. If you look at the side of an ear, you get this kind of an effect. That's kind of how I want it. But I think come to subtract because I need to push those polygons in so I'm getting a sharper definition on the top of the ear. Push the polygons down. Let's move it around so that I can see from different lighting angles because if you only keep it at one angle as well as not being sure about the form, you can't see how the form looks because well, you need to look at it from different lighting angles. You see how those highlights are bouncing off the shapes I'm doing right now. That helps me to define the form a bit better. It helps me to visualize to think that I'm doing a bit better. To and subtract off. I'm getting somewhere with these ears. Now, more how I want to get I'm still on the top of the way too high. Can I just come to my mortal? Move this down a little bit more to lessen the effect of it. In fact, you know, that's not too bad. Let's come to our clatol. What I'm doing is, as I'm working, I keep on noticing something that's gone wrong in another area. And again, it's everything everywhere all at once. But I think we've got to a stage now the e is where I can sign off on this video. We will come back and work on this when we have more resolution or if I notice something and I think, Oh, that's awful. But in the meantime, I'll stop doing this video. In the next video, we'll take a look at the eyes. 9. Goblin Head 05 - Eyes & Mirrors: The sharper eyed among you may realize that this is not the gobbling project. The reason for that is that things are going to get a little bit more involved now, and I would like you to have the same model that I'm working on so we can both start from the same place. There is a file for you to download called gobbling Tutorial 02. It will come zip up, and I want you to put it in a place where you can access it. In my case, I'm using the iCloud. And so what I'm going to do is come over to my project folder, then I'm going to come down to Import. I stored mine in a place called Noma Tutorials. There we are Goblin tutorial two, tap on that and open. Do I want to out of the scene or new project? I'm going to choose New project. And there you go. We're ready to start again. Okay, so what I want to do now is start with the eyes. Now, I have seen people working or tutorials where people build up the shape of the eye and then start cutting into it or whatever. Don't think that is a very good way to work, because the eye is basically a sphere. Actually, it's a bit more complicated than that, but for our purposes, we're going to call it a sphere, and it is very difficult to start guessing at what the shape of the sphere is going to be like if you're modeling on this object without any kind of a reference. So I'm going to add a sphere to this project. I will mirror it, and those will be my eyeballs, and it's going to be a lot easier to build up things like the eyelids and the surround of the eye. Once I have the eyeball in place, I'll know what that round shape looks like. So to do that. Come over to our scene menu, top left, and come down to add. Now, in the past, we've added a sphere. I don't want a sphere. I want a different kind of sphere, and that's a U V sphere. Tap on that. The reason I'm using this if I turn on my wire frame and move to the top, you can see that unlike the spheres we've been using, this comes to a point at the top. Now, if you imagine that is the center of the pupil, that can make life a little bit easier if we have to add any detail to this sphere. So think about it, though, it's facing directly upward. I want that pole where everything comes to a point to be facing forward. To do that, let's come to our Gizmo tool. Now, you know you can rotate it. If I come to this red band here and I move it down, you can say I can do that. But it's not going to go exactly straightforward. I kind of having to guesstimate it. There was an easier way to do this if I two finger tap to undo. And then kismo like all the other tools has various things you can do with that tool or coming down the left hand side. I want us to come to snap. Now, you can see it's set to a 90 degree angle. So now, if I come back to that red curved bit, which lets me rotate, I can keep moving, keep moving, keep going down and eventually snap. It snaps to going straightforward at a 90 degree angle to what it was. That's great. That's what I wanted, so I can turn off Snap now. It's a little bit big. So I want to scale it. Again, I can use the Gizmo tool to do that. Come to this outer circle, which I'm just blinking on and off. And if you drag that inwards, the entire thing scales down. Oh, dear, it's got invisible. I can't see where it is. That is not a problem. If I come down to the very bottom, can you see I have something here called Xray? I, I turn on Xray. Anything which isn't the selected object gets this kind of well, this X ray thing. This helps you to position what we've got, so it needs to be smaller, doesn't it? But how small? I mean, it could be a big eyeball, it could be a very small eyeball. Sometimes it's difficult to know. I'll give you a quick tip for this. I know we're doing a humanoid shape, but for humans, in general, if you have two eyes on either side, you can, generally speaking, fit an eyeball in between the two of them, and those three spheres would just be touching each other. Let me show you what I mean. I'll zoom in a bit closer. And I'll tap where it says front. Look, if I move slightly off and I tap on front, it snaps to the front view. So now I can position this eyeball to what? See a part there? Maybe make it a little bit smaller. By pushing in that outer yellow ring like this. And then what I'm going to do, come back to the scene menu. I've got my UV sphere. That's my selected object. I am going to come to here where it says, Clone. If I tap on that, I get an exact copy of whatever was active in this case, the UV sphere, and I'm going to move that across. So it's just touching the side of that central sphere. Does that look about right? Well, let's say this gobblin has some quite big, scary eyes. So let's say that's the right size. In fact, you know what? I'm not so sure about that. Maybe I want it just a little bit smaller. So what I do is I come back up to the scene menu and I'm going to press just where I'm circling that little box and I get a tick there. That means both objects are selected, and I'm going to make both of them. Just a little bit smaller like this. Now, because I made them smaller, that central one is not quite centered. So I'm going to move everything across, so it more or less matches up like that. It doesn't have to be exact. Come back to our scene menu. Now, which one do I want? Let's tap on I wanted to tap on the sphere instead of tapped on the goblin head, so come back and choose U sphere one. That's what I wanted selected because I want to delete that. So there's my one eyeball. If I turn off X ray, you still can't see it it's too far back. Let's move around by dragging and pinch inwards, and let's come and tap where I'm circling and tap so it's exactly facing right. Come to this green arrow and drag everything forward, and eventually you see the eyeball, if I move this around like this, and I'm going to turn off wireframe so I can visualize this a little bit better. Do I want it about there? Well, maybe I'd like the eyes slightly wider apart. Say there. Remember, this is humanoid, not human, so I can play games with the spacing of the eyes. That's about where I want it, maybe come a little bit further forward, actually. I can always adjust it later. About there. Now, I'm not planning on doing any sculpting with this, so I don't need to validate this sphere, but I do want a mirror of it, so I'm going to come back to my scene menu. And before I do anything else, I'm going to tap where you get those three little dots, and I'm going to come down to name. Here's your first tip. Name your object as you go along, which I haven't been doing Naughty me, because once you start getting a list of objects, it can be very difficult to figure out which object is which. But if I call this eyeball, and I come up to my sphere, and I tap just where those three dots are, and I'm going to name this two head. Well, great. Now I know what's what. So I want to come down to my eyeball. I want to mirror that so I have a copy of the eyeball on the other side of the face. Come back to our scene menu and come down to add. Underneath my various primitives, I have a couple of other things. I want to come down to repeaters and come down to where it says, mirror, tap on that. And there I have a mirrored copy. Now, just looking at this, I'm thinking, wouldn't it be easier if those eyeballs were a different color? So, come back. Don't select the mirror, select the eyeball, and I'm going to come over to my shading panel. I've got use global mat cap selected. I'm going to uncheck this, and then I'm going to tap where the actual mat cap is, and I'm going to choose a different mat cup. Sh would say, that's too bright, a bit darker, maybe a bit darker like that. And because I unchecked use global Mt cap, only the eyeballs have changed color. That's going to make life a lot easier for me to visualize when I start building up the surround of the eyes. Now, just as an aside, let's remind you, all my tools are great out. Can't do anything with this apart from maybe use the Gizmo tool to move things around. That's because I haven't validated this. You can't use your sculpting tools until you've validated things, but that's okay. I don't want to do any sculpting. On the eyeballs, I want to sculpt on the head. So tap on the head. It flashes purple briefly to let me know that that is the selected object. And oh, look at that. I have all my sculpting tools back, which is nice. Now, just while we're looking at that, if I come to my settings up in the top right hand corner, on the interface panel just underneath, you can see I have all the shortcuts at the bottom, and you can see that some of them are selected. Like you've got Xray which we just used. If you've got vaxl in this panel, that's selected, you can see that down the bottom. I want to turn on outline. And when I toggle it on and off, can you see in the bottom, it gets added there. That's great. If I come to that and tap outline, you see that? I'm getting a red line around my currently selected object, which is the head. Turn it off, it goes away. If I was to choose my eyeball, that gets a red outline around it. That can give you a clearer idea at all times of which object you have selected. So tap back on the head. There's my red outline. Okay, I'll call a halt now and in the next lesson, we'll build up the skull and the skin tissue around the eyes. 10. Goblin Head 06 - Dynotopo: Okay, so I want to add some detail around the eyes. I think before I do, I'm just going to move the eye socket around a little bit just to give me a little bit more space to work on. I can always move things around afterwards, but I will come to the move tool. Eye brush. Yeah, that seems to be about the right size. Let's move this around. There's a little bit more space just around the back. And let's try around there, shall we? Okay, so I'm gonna come to my clatol, zoom in, and I'm going to show you a bit of a problem. If I start building up the eyelids like this, Oh, can you see this? I'm starting to get to the stage now where I need some finer detail, but, if I turn on my wire frame, there's simply not enough polygons here for me to get the kind of detail that I want. At this point, let's tap and hold and use VauxllRmsh and move the resolution slider up so I get a finer mesh. But I'm not sure I've finished out blocking out my larger forms yet. And if I take it to a much higher resolution mesh with a lot of more polygons. It's not that easy. To make big changes. We discussed this in an earlier video. What I would like is to have more polygons just around this eye area, so I can work just on that area in a higher detail. Well, we can do that if we come up to the top where I'm circling. If you remember multi resolution, we used FoxelRmsh. Next to it, you've got this thing here, dino topo or dynamic topology. And if I enable that and I'll turn on the wire frame so you can see what's happening, and I'll zoom in a little bit more so you can see things very clearly. I will also just make my eyeball invisible for a second, and I can do that by coming down to where it says eyeball, and I've got a little eye icon there. Turn it off and it becomes invisible. My head is still selected. Watch what happens when I start drawing with dynamic topology enabled. Oh. Look at this. I'm suddenly getting a whole load of really fine polygons here. Now, they're not ideal. They are rather messy. But what's going to happen is I'm going to sculpt with these. And then after I've got the kind of detail and shape and the forms that I want, I can carry on building up any larger forms in other areas. And then when I go to a higher mesh, this will all get remshed so that hopefully I keep the finding details just in this area, but I can also work on other areas without a really fine mesh kind of getting in the way a little bit. So I'm going to turn off dynamic topology. I'm going to turn off wireframe, and I'm going to come to my seeing menu and I'm going to turn on my eyeball because I want that there to act as a reference for the various things I'm going to be doing. Now, I come back to my claytol. And now, when I start doing things, can you see, Because I have all that extra detail, I'm able to build up the eyelid area plus also underneath as well with much greater detail, this is giving me a much easier time. A little bit of a bag under the eye like this. Can I grease the top bit of my eyeball? Yeah, I'm not set to invert, that's useful. And yeah, you can see I can start to get some finer detail around here. And because I have my eyeball in place, I can use that as a guide to build up the shapes, the lower eyelid, which I'm doing at the moment, and the upper eyelid like this, much more easily. I'm starting to get something with this. Okay, this guy's a baddie, so he's gonna have some rather wild staary eyes. I'm going to tilt upwards so that I can view this from different angles, and I'll come to my move tool is that about the right size. Maybe make it a little bit smaller, and I'm going to drag that upper eyelid out so that Oops, I just accidentally touch the eyeball. I don't want to sculpt that. I want to sculpt the head to tap on that and move the upper eyelid around to get the edge of the eyelid where it meets the eye. I want it to be down a little bit and up a little bit, so I'm getting this Well, the shape of the eye, a little bit more how I want it. Okay, this is a nasty critter. So let's move the eyelid up like this, so it's got a slightly more spiteful look to his eye. But you can see when I moved it because of the angle I'm working at, it's starting to go into the eyeball. So again, move up like this, move that out. And this is something that kind of comes with practice. Move down and start moving that lower eyeball out. Sorry, not eyeball, the edge of the eye like this. And yeah, that's starting to give me more of what I want. I'm going to move the inner part of the eye out like this. Look at it from different angles, like that's not really working, is it? So that needs to come down there and maybe there. If I look at it directly from the right hand side, well, the upper eyelid normally is further forward than the lower eyelid, so maybe I need to do some work with this. So make my move to a bigger, pull the whole thing forward like this. Leaving a little gap there. I don't mind that. I can always work with that later on and maybe move this more to the side and see how that is working. What I'm also going to do is come to the eyeball itself. I'm going to come to my gizmo, I just want to maybe move that around. I'll make sure I'm facing exactly right. Maybe if I move it up a little bit like that, moving it up is giving me more the effect I want where I want a slight slant to the eyeball. So the upper eyelid protrudes forward a little bit more. So come back to my head, come back to my move tool, move things forward a little bit more there, move things back a little bit more here. And that's kind of working from this angle, but it's only when you move it around and look at it from different angles, you start to get a better idea of what you're looking at. And that is starting to work. I need to move that top lid out a little bit like that. As you can see, it is quite intricate work. That's why I'm glad we've both got the same model to work on because if you are working on your own particular model, this would be pretty hard to match up with what I'm doing. I'm going to come to my inflate tool. It's fairly small, and I'm going to just rub here a little bit so I get a little bit of bulge there for that little tear duct on the corner of the eye. I'm going to come back to my clay tool, set it to subtract because I want a little bit but an indentation just hit, and also you can see here I need to even out. Part of the bags of the eye, let's change that back from subtract to add, gradually build up the eye like this. I want bags under the eyes like this. And yeah, this is starting to work, okay? Come back to my move tool. You can see I'm tweaking at the moment. Sorry, I'm not tweaking. I'm doing something different. I'm tweaking the form of the model. My move the top bit of the eyebrow further forward like this, look at it from above. What's that looking like? Actually, no, I want to make that more rounded a little bit more like the kind of thing you see on a human make this a little bit smaller move this bit around here, here as well, okay, I'm going to come back in, and I'm going to come to my crease tool, I'm going to set it to invert. So rather than gouging out a groove, I'm going to define the edge of the eye like this. I'm getting a sharper edge. Around the outside of the eye. Like this. Come, bring it down like this. Do the same to the bottom. Make a slightly better defined eyelid. Like this. That's starting to work a bit better. I'm going to turn off invert and I want to gouge out shapes a little bit now. Just a little bit of definition. Maybe I can have wrinkles at the side. I'm not sure I put enough detail on that side area, but when I get to higher res, I'll be able to work on that a bit better. Can I get a little bit better definition where the top eyelid goes underneath and meets the eyebrow? Yes, I can do that a little bit. A little bit more definition around here. Turn that to invert. And a little bit more definition there. Turn off invert, and maybe just get a little bit more definition here as well. Now, do I want a little bit more wrinkles onto here? I'm getting a little bit of ahead of myself here. I'll be adding the wrinkles and stuff like that at a later stage. Now, what else? And when I come to my brush tool, which is kind of a halfway house brush in between the clay tool and the inflate tool, add a little bit more to fill out this side of the eye there. Can I move it? Come to my move tool and just move that around a little bit, maybe a little bit around the back of the eye, as well. That should be pushed in a little bit, I think, for the side of the temple. I'm just looking at various things I can do just to tweak the shape a little bit so that I get eyelids that I can live with now. To are fairly wide open, starry eyes. I keep on looking at different things I want to do just gradually guide it into place. Oh, let's try turning on smooth and just making my brush size smaller, maybe smoothing this out a little bit, maybe come back to my brush tool again. So I can one along, pad out this a little bit more, come to my clay tool, and build at the top of the eye, a little bit like this. Bit more of an angry shape to those eyebrows. Come to my crease to carve out there. I think I'm getting to the stage with these eyes now that really I need to start putting in some finer detail now because what I've done to the eyes, I could do the same thing for the lips as well. But with the eyes in place, I just want to make one or two more tweaks to the general shape of this, like I want the nose to be a little bit more out like that and I want. A little bit more on the side of the nose. Do I want that nose to be a bit more pointy? Yes, I do. Now, I could use the move tool for that. Or next to the move tool, you have the drag tool. This is like the move tool, but a bit like the move tool on steroids, maybe. If you want to move things around this drag tool, some people don't like it. They find it a bit difficult to control. But in the interest of showing you how it works, let's use it now. Nos towards further forward. Just come down to where the mouth is. That could do with being changed a little bit. Make the chin a bit more pointy. And that looks a bit strange. Alright, I think I've got to a certain point with this. So I'll come to my project. This is gobbling Tutorial two. I'm going to come to Save As and choose new so I don't overwrite my file. I'll look at that. It renamed it for me, Gobblin Tutorial three. Okay. This is a good thing to do. You save your project in iterations. Goblin Tutorial one is a very, very basic shape. Goblin Tutorial two is where we were at the start of this video. And now any further changes we make will be made as Goblin 03. That way, if I completely mess up this stage, I can always go back to Goblin 02 and start it. Gain. Alright, we'll carry on adding detail to this in the next video. 11. Goblin Head 07 - Finer Details: Alright, now I'm looking at this, thinking there's various things that I want to do to it to make it look more how I want it, but time is moving on, and this is about showing you the techniques rather than me trying to come up with an actual finish model that I can go, Hey, wow, that's one for my portfolio. So I'll take a look around, quick look around. Is there anything more I want to do with the overall form? Well, yeah, there's plenty of things I want to do with it. But I think now it is a good time that we need to start increasing the amount of polychons we've got so we can start to do more finer detail. Okay, so I've got my vauxal remsh here at the bottom. But the moment the resolution is on 172.7. Let's give you some figures. At the very early stage, when you're doing blockout and rough forms, you're looking at a recommended vaxal resolution 50-100. For mid progress, which is where we are now, where you're refining those primary forms, you're going to look at vaxel resolution of between, say, 150 and 250. Now, when you come into the later stages, adding things like wrinkles and pores, you're looking at anywhere 300-500 Vauxel resolution or more. That's for things like wrinkles, sharp edges or something called texture stamping, where you can stamp in textures to build up your texture. I'm going to remash I'll turn on wireframe so you can see what's happening with this. Can you see I've got all that sharp detail around the eyes and less detail in other areas. Now, we know why that is because we did this in the previous lesson. I'll turn off wireframe again. Then I'll come back to Vox will remash. Don't tap it, tap and hold. Otherwise, if you just tap it, you vox will remash at that resolution of 172.7, and then you're going to lose a lot of detail around the eye area. No. This is kind of halfway in between mid progress and the later stages, so I'm going to try and move this up to I'll try say around 280 mark, and let's see what happens when I do that. Yeah, I quite like that. I've not lost much detail around the eye area. That's fine. But if put on the wire frame, you can see it is quite a bit finer, and I can start to put in some finer forms. So let's make a start with that. I'll come to my crease tool. I want to add more of a crease around here. The sides of the mouth can be right the way down like that. For the mouth itself, I want better defined lips. There, come down like this. I'm going to invert my crease tool because I want to find the top of the lips like this. It down. Also the bottom of the lips, as well. Let's define those a bit better. That's starting to work. The inside of the nostrils. Let's come to a move tool, and we're going to pull that forward like this, so I have more of a open nostril like this. Maybe bring that down a little bit like this. I will come to my clay tool again, maybe start to build up the side to the nose like this. Can't you see, now that I've got a finer mesh, I'm able to build up well, some of the strokes because I have a finer mesh. Keep looking at it from all angles, though. Let's bring the side down, so I'll get wrinkles around here. Maybe come to my smooth tool and smooth that out a little bit. Yeah, smooth that out a little bit more. Come back to my cruise tool, turn off invert I need that to be a sharper area there. Bring that around here. I will come to my clay tool again. I want to just increase a bit volume just under the nose like this. Increase the size of my clato a little bit, lower the intensity. When you lower the intensity, you can build up the shapes more gradually. Look, if I was to do this and crack up the intensity, and incidentally, you can take it way past 100%. Now if I was to try and do the same thing. Oh, no, that is way too crude. Tiffing and tap to do that. Now, let's take the intensity down and we can gradually build up these shapes where am I about 20% even that? And, yeah, that's starting to look a bit better for me maybe build up this area around just to the mouth, build up the lips. I don't want this one to have thin lips. I want him to have thick lips. And you know what? I'm finding a bit of a problem here. I've got to work at a certain pace. Otherwise, you're gonna get completely bored. And so I don't have quite the time that I would like to really take a look at these forms. So, look, we'll just work it through, okay? If it doesn't turn out quite how I'd like to non subtract. Well, it's about you getting a good grounding in modeling rather than me getting a model that I can show off about. Build up the chin a little bit more like this. Let's come to Crest. Let's put a little gap going down the middle so I get a cleft in the chin. Can I get a dimple in there, maybe? I'm using a higher resolution here, but still for the really fine detail, I could use something even finer than this, and we will do. As well as using the various different tools, you can still use the move tool. Let's make this a little bit bigger. Push that forward a little bit like this. I pulled this bit outward so I've got more of a sneery expression. There. That's whoops. I undid it accidentally, that's too finger tap to redo it. Come back to my brush tool, the halfway house. Oh, that's way too small. Brush size larger, intensity down. And build up this cheek area. Like most goblins, this is not well, let's call it a him. He's not a pretty boy. Good thing about doing it this way is I can really play around I put wrinkles, character for shapes. You do something which is very pretty, for example. And one of the features of pretty things is they don't have all these wrinkles and divots and everything like that in the skin. Tend to be very smooth skinned. That's gone in a bit too much to come to smooth, smooth this out. I'm going to up the intensity of this smooth a little bit, so I can work a little bit faster. Water maybe smooth out these bits at the top. I'm concentrating mainly on the face because that's got the most ins and outs, which is what I should be showing you. But I suppose we should bear in mind, as well, there is the back of the head there on that score. Maybe I'd want some kind of a neck for this. So what I'll do is I'll come back to my mask tool. And I'll a fine area around here. Which is going to be where the neck goes now. Whereabouts? Yeah, it's gonna come down a little bit further forward like this. Let's give him a skinny neck, shall we? Down to about There? Come to invert. I want to blur that a little bit, so come to a blur where I'm circling and drag to the right and gradually increase the blur on that. Let's move that a little bit more. Maybe there. Because I want to move the neck area, I will come to move. I will make this nice and big, and let's pull out this area like this. Awful geometry, but as we know, we can do something about that. Just before we do, let's pull it around a little bit. Try and look at it from different angles, like the bottom of the neck needs to come out a little bit, doesn't it? And if you look at the neck, it's not just flat. It's not down there somewhere. There's a definite angle to the neck. Move this back a bit here. Push that in a little bit there, push that out a little bit there. That's a good starting point for any future sculpting I want to do. So come back to my mask tool and clear all. Well, that's an awful geometry. So let's come to vaxlRsolution 301.5, right? Well, tap and oh, look at that. That will happen. Voxel remesh is very, very useful, but sometimes it can't figure out where you want things smoothed out. So let's come to smooth. Set my brush size nice and large and my intensity fairly high. And they go just smooth away all of that stuff. So we get a much smoother neck. Let's take a look at that with wire frame. Yeah. That's a mesh I can work with. So for that, let's also, while we're in smooth mode, let's smooth out this area here because otherwise, that neck's going to be rather sharp. And let's come to clatol set it fairly large because I need to build up this front area here and maybe come subtract so that I get a bit of cutting in in various different areas like this. Let's give him a skinny chin. That. A little bit smooth on that, but let's come to turn off smooth and turn off subtract and gradually build a larger area around here. I know that I can smooth this at any point, and I can subtract at any point. And so what I want to try and do is work fairly fast with this. Because the faster I work, the more I feel I'm working intuitively. If I'm agonizing over every single brush stroke, there's less chance of me looking at the overall form. Now, let's try the brush tool. Don't want to subtract. The intensity, I'll up it a little bit. Brush siden needs to be smaller, 'cause what I want to do is build up these muscles which connect underneath the ear and come down and join the top of the clavicle. Like this. Then probably going to be Adam's apple here somewhere. That's gonna be way too big. Oh, look at that. Come subtract. Make this a little bit smaller. Put a little dimple in there, then come to smooth and try and tame some of this down. Sometimes, when you're defining forms like mussels, the temptation is to make say these muscles here just a little bit too overdfined. I need this to be a little bit more subtle than that. And that Adam's apple. Oh, my goodness. Yeah, that really does need smoothing down a little bit. Let's come back to our clay top and just gradually build up stuff. This way, I need a little bit more definition here. I want a little bit more gap. There, I can see at the side. Let's Whoops. Turn off subtract. I need that to spread out a little bit down here. Turn off subtract because I've got a bit of a ridge here which I want taking down. I'll come to my Motel because I want the bits just towards the back of this neck where I've done to come out a little bit more like this. I'm only going to be doing the head and the neck. I'm not going to do the whole body with this. But one, let's take a look at the top here. Turn on my clay and what I want, again, set fairly low, subtract off. There's a couple of muscles come down the back of the neck like this. I want to include those as well. Also maybe soften up that skull a little bit. Build with these muscles here. By the way, the clay tool, when you're doing fine detail, is really good for building up kind of a muscly effect. Bring that down here. Let's come to smooth this out. And, yeah, that's starting to move. Oh, I've got a little bit of a rogue. Bit behind the ears, again, I can smooth that out. And yeah, I'm starting to get some more of this. Although I can still see things right now that I want to carry on working on. Time is moving on. I need you to at least try and stay awake. Sorry, I just do not like that Adam's apple at all. Let's bring it down a little bit there. A little bit more wide a bit here underneath the chin. Okay, look, I'm gonna save this gob in tutorial three. Come to save. And I think I'll carry on adding finer detail in the next lesson. 12. Goblin Head 08 - Finer Details: Alright. Now it's gonna be more of the same. I'm gonna increase the amount of polygons I've got, and I'm gonna car on starting to add more and more detail. When you're building up a project like this, and this is a fundamental workflow that we're doing, you start off with the blocky forms, you start to build them up. There comes a certain point where the mesh gets fine to a point that you have to decide, Look, I'm not going to go back. If I want to go back, I can load up one of the previous projects. Tutorial one, Tutorial two, Tutorial three. If I wanted to go back and do some larger changes, maybe I'll go back to Goblin Tutorial two. That is one of the advantages of doing these saves with zero, one, two, and three. But for this, I'm going to move into some higher detail now. And you know what? Because I am, I'm going to come save as. And I'm going to save this as new Goblin tutorial. Four. And let's come down to VauxelRmash. I have this on 300. I'm going to crank this up now. Let's take it up to Let's take it up to what? Let's take it up to around 450, something like that. Come to remash. How I think about it? If I come to my wire frame, that's giving me lots of polygons to work with. If I come up again to look, I've got a little bit of information here, which is useful to me from a technical point of view. I have 531 k just over half 1 million polygons here. And just above it, I can see the total amount of RAM I've got on my system. That's 16.6 gigabytes. And so far, I've used 256 megabytes. That is good news. It means when I want to go into ever higher detail, it means I've got plenty of polygons to play with. At this point, I might come up to my materials. And do you remember earlier, I showed you smooth shading, and I said that I'm going to leave it off for now because I want to see what's happening with the individual polygons. Well, now, maybe I can turn it on, because when you come to render this, it'll be rendered with smooth shading. So now, I think I can get away with having smooth shading on and start to refine the forms some more. When I do that, yet, you can see I'm getting better defined forms here. I'm starting to define some of the larger wrinkles and the bags, and the eyes like this. Maybe put another wrinkle just here. Let's undo that because I'm starting to affect where the sharp bit of the eyelid is, in fact, I'm going to be really uptight about this. I say uptight, but this is the point where you're going to be making fine tweaks. Maybe move that up a little bit like this. Maybe move that out a little bit and in a little bit so that we got an even edge around the outside of the eyeball, which is what you're gonna get. Do yourself a favor. Don't make it really close like that. Eyelids aren't like that. They're thicker than that. Now, all the way through this, I've just been relying on my knowledge of anatomy to work on this model. If you get into three D sculpting, doing things like this heads or humanoid heads, chances are you're gonna be doing stuff like this quite a bit. So it is worth studying the shape of the head to try and avoid making the various mistakes that people tend to make. When they sculpt ahead. For example, a very common mistake is that people put the eyes too far up or the inner corner of the eye tends to be further forward than the outer corner of the eye. That tends to be more around the side. That's why I decided to do a humanoid head so that you don't have to agonize about getting a human head exactly right. Let's come to crease. I'll come to invert. I'll make it small, and can I increase the definition of where the eyelid meets the eye? And, yeah, that's gonna help me, I think. Same with the above. Oh, yeah, I do need to do a bit above. Still not happy with the shape of it there. Let's come back to crease. Extended a little bit like this. Come to invert, so I'm gouging in, make it very small, make it quite intense, just to find this tear duct a little bit better. My come to my move tool, make it absolutely tiny. Pull that out a little bit, so it looks a little bit more like a tear duct. You can still use the move tool at this point and maybe come back to my Crease tool again. Come to invert, add a little bit more definition around here. Take off invert. I still want it fairly intense, but pretty small, so we can add a couple of wrinkles around here. Maybe we cantend this round, keep those creases. Maybe take this crease up a little bit here. Can you see now I'm starting to get the kind of detail that I was talking about earlier. I want to smooth this bit down here. Let's make my brush size larger. I want that to be a little bit smoother, but now I'm going to come back to my crease tool again, more definition down here. Bring that around here. I'm trying to follow. Where I think the crease would be. Now, you can see with my final resolution now, that's starting to look a little bit better coming round like this, go to add a little bit of crease just on the inside because the human lips very interesting forms. If you do get the bottom lip going in a little bit like this, maybe come to. Let's try my brush tool. Try built hoops that set to subtract. I wish I was using my little wireless pad so I could just rest my thumb on either the lt key or the shift key, so I wouldn't keep on doing that. I wouldn't keep on getting subtractive strokes when I want additive strokes. Ever paint that. Now, I'm just going around, and I keep on noticing things that I think well, I don't like that, and I want to change that. And maybe can try crease to. Let's put a little crease. It's not set to invert. Oh, good. Put a little bit of a cleft in the lip there. Maybe take up around a bit here. Let's try coming back to my brush tool and just bringing a little bit more definition to the underside of those lips like this set to subtract a bit larger and just try and bring those bits around here. If I know, look, I can come to my flatten tool, set it fairly low. And do I want this to be a little bit more plainer? That's up intensity, so you can see very obviously what I'm doing. Or more obviously what I'm doing. And I'm making this whole area a little bit flatter. As I said, you're blending opposites. You don't want it to be all blobby, and you don't want it to be all wrinkles. You want your flatter areas, and your bulging areas, and your wrinkles. And just defining these planes, well, a human face or a humanoid face, it is often a series of planes. It's one way of learning to draw and understanding the human head. Make that bigger. Just trying to break up. Sometimes it can look like the head. They're a bit sick. Their face is swollen up. I don't want that. This is should help you to break up the forms a little bit. Definitely want a plane at the side of the head. A little bit around the back side of the eyes, a little bit more here, tone down the neck, the side of the chin, maybe the front of the chin, so it's not all just gentle curves with a few wrinkles in so it gets a bit monotonous. Yeah, you want curves, but you also want flatter areas. You know, these muscles down here are looking a little bit blobby, the Adam's apple. I could do a flattening down a little bit. Again, come to my grease too because I think the top of those lips are not so well defined, so I'll come to invert and again, add a sharp line along the top there. Come to invert and dig in a little bit. And one or two wrinkles around the side of the mouth. You can also do a slight crisscross pattern as well, because you do get that. Often, you don't just get just one wrinkle. You get a series of wrinkles, maybe make that a tiny bit more defined around there. And while I'm here, I can start to add maybe a few wrinkles on the lips as well. Just here. When I go to the very fine detail, I may turn symmetry off so that, well, you don't want things to be completely symmetrical. Nature doesn't work like that. What about here? Come on. Let's add a little bit here, maybe have a couple of wrinkles coming around like this. Nice. Blue strokes. I can do a little bit of crisscross as well to suggest that maybe a mean goblin, but he's had a few laughs in his time, so let's put a few laughter lines there coming round like this. Breathing a little bit of life, a little bit of character into the face. Now, what about a couple of wrinkles on top of the forehead? Because you're gonna get them. The clat make it very small. Make it fairly well, a little bit more intense, but halfway intense and maybe build up a little bit in the middle here. And, come on, let's stick on. Why can't I find the tool? I know it's because it's not set to four columns. There we go. That's my crus tool. Let's add a bit of cleft on the nose like this. And still not keen on that nose. Let's come to my moo tool. Move it around like this a little bit. Push in a little bit here. Come to my clay tool, set to subtract, maybe bring a little bit more definition around the nostrils. Cut in around the side over the eyes. Smooth that out a little bit. Maybe smooth this out a little bit. I realize now I'm starting to talk to myself. That is because you'll get to the stage. You've got your model. You've got an idea of what you want it to look like. But again, you're still going around and making changes, seeing how everything looks relative to everything else. Come to my move table. Maybe move that down a little bit here. Now, right at the beginning of this course, I did say to you that there's basically four tools you turn to use a lot, and hopefully you can see this now. Mainly, I'm using the clay tool, the move tool, the play the tool and the crease tool. I'm also using the brush tool, which is a halfway house in between the clay tool and the inflate tool. The inflate tool always good. Forging out spaces if I turn it on subtract and make that bit around here and a little bit deeper in. Come back to my crease tool. Start add a few wrinkles around here. I'm doing crisscross to get a more aged, more textured look. And I do kind of like those little kind of wrinkles that I've got on the side of the cheek. Maybe come to my brush tool again, a little bit larger and just build up the side of that cheek. The Again, I could keep on going with this. And I want to keep on going with this I'm enjoying myself and I'm starting to lose myself in the process. But time is moving on. I will stop this video now, and in the next video, I'm going to increase the resolution even more. 13. Goblin Head 09 - More Finer Details: Okay, I want to do one more pass and add in some finally detail, and then I want to call a halt to this project. The whole point of this project was to introduce you to a workflow. You start off with a low polygon or a low polymsh. You pull it around, you sculpt it, using the tools you've seen, and you gradually use a remesh to add in more and more detail and refine your forms. Okay, so let's take a look at our wireframe. That is quite a few polygons, but now I want to put in some really quite fine details. So now I'm going to come to my voxel again. I was on 452. I want this to be really high. When you're doing your wrinkles, you want a resolution of 500 plus. I'm going to take this all the way up to say, 600. Let's remash this. It'll take some time and turn off the wire frame, turn it on again. Yeah. That would give me some finer detail. But I'm looking at the top again. I have 16.4 gigabytes to play with. I've used 379 megabytes, which is nothing for the Ram. I can go a lot higher than this. And the amount of polygons in there, I've got 928. I've got just short of 1 million polygons in this scene. I can go higher. So let's do that. I will tap to do. I will come to Vauxhall. Let's crank this up to what? Say, around 750 mark. Remash it takes its time. That is going to give me a whole load of fine detail. I'll turn off wire frame. There are just one or two things I want to do before I start adding in some extra fine detail. I will come to my pinch tool and just around the side of the nostrils, let's make this a little bit smaller. I'm going to pull in that crease just where the nostril meets the face, maybe a little bit underneath. Now with this, it's pulling polygons in close together. So I'm getting some more sharply defined creases. Maybe I can do a little bit on the lips, as well. Just to get the difference between the top lip and the bottom lip even more defined. I can still use my existing tools, but I'm going to be concentrating more on my crease tool to put in those fine wrinkles, nice and small. See if I can put in some extra fine things here. Let's make this a little bit more intense, shall we? And I'm going to turn symmetry off so that I can do just one side and then the other side. Remember, you don't get perfect symmetry in nature, so I can add a few gouges here just to make it clear that this isn't symmetrical. Hurrah. Differences from one side of the face to the other. Let's take a look at that. Yeah, that's starting to work. A few extra lines increases down here and on the other side as well. Now, this would be a good time to put in some extra wrinkles around here. Let's come back to our pinch tool, and I'll just use it to pull some of the vertices in or some of the polygons into each other to get a more sharply defined line there. Let's come back to my crease tool, set it to invert, and just define this even more sharply. A lot of it is going to depend on how far away you're looking at this model. Look at it from far away. These details won't really matter. But it does affect the way the light falls and bounces off. This model, take off invert, make this a little bit sharper around here. Maybe a few wrinkles along here along the top of the eyelid. And yet, at this point, maybe I should have put symmetry back on so that I don't have to do it twice for some of these areas. Not a problem. Always adds to the overall effect of it being asymmetrical. Oops. Take invert off. Add a few wrinkles around here. Pull that in a little bit here. For these wrinkles, let's add a couple of criss crosses. In fact, let's take a wrinkle going from one side of the face to the other like this. Add a few extra lines in. Let's turn on invert again. And for this, yeah, I will turn symmetry back on and give the idea of there being eyebrows here. Turn invert off and had a few gouges rather than raised areas as well, just to further define this. Oh, my pencils not running out of power. I told you this thing drains things like you wouldn't believe.Hd some more wrinkles underneath. Now, I want to have some skin pores in here as well. Let's turn on smooth for this. Just get rid of some of the detail around here. I would so like to carry on doing more detail around the years, but look, time is moving on. So I'm now going to come down to a tool here called the stamp tool, and I'm going to come up to this icon here, which gives me the settings for the stamp tool. Now, this tool works differently to the other tools. Previously, like if I choose a clay or something like that, you make a brushstroke and you draw a continuous stroke. But with the stamp tool, it works differently. If I come to this area here, if I drag out, can you see instead of drawing your brushstroke, I'm dragging out an area like this. Now, that's not what I want. What I want is to add some skin paws and rough skin texture. So I'll two finger tap to do that. Instead, I will come back to my settings. And you see where it says square? Well, that's what I was drawing out. I want to put an alpha map on this, and I'll do it first, and then I'll explain what it does. If I tap where it says square, I'm going to import, and I'm going to import, in my case, from my files. I have a folder here called three D textures. And if I come down, let's find one which I want to use here. Let's try I'll try skin one a deep, skin 03 A, skin 03 A deep B because I'm great at naming things and skin three A large. I've selected those, and I'm going to come to open. Now, at the moment, you can see, I've got one called skin three A. If I drag out now, can you see I'm getting a texture there? That is what I want, but it's not there yet. Now, do I want to use skin three A? Look, I've got them all down here at the bottom. How do I using what's this skin one a deep? How does that look? That's giving me more of the effect that I want. I'm going to increase the scaling. There's little slider here. And when I do, watch what happens. See that round shape next to my actual texture. I can make it bigger like this. So I get slightly larger skin paws and now look at that. I'm getting a rough skin texture. That is starting to raise things up. What happens is Look, if I zoom in on this, you got your dark areas and you've got your light areas. All that happens is, when I drag out something like this, come back. The darker areas won't really be affected. The black areas won't be affected. But the lighter the individual dots in that skin texture are, the more they get raised up from the surface of your mesh. I have two fingertap to do that. Now, what happens if I invert the pixels so the dark pixels become light and the lighter pixels could become dark that's giving me more the effect I want, but it's too regular. That brushstroke, when I do this, I want this to fade out more as it gets to the outside of my texture. So I come to where it says, fall off. That curve you see affects how my texture falls off. Like at the moment, you can see, it's a fairly rounded curve. If I tap on it, I've got a series of presets. At the moment I'm using out paw three. Don't really want that. Let's try smooth step. And if I do that, I drag out a texture which fades away much more readily as it goes to the outside. That's what I want. I'm going to lower the intensity down a little bit. And yet, that's giving me a smoother texture. So now what I can do is I can go around my model and I can start to drag out much more of a smooth skin texture. Definitely want it on these cheeks. And I've got symmetry enabled. And sometimes I'll make a fairly large drag out like this. Sometimes I make it finer. The less I drag out, the fineer the skin pores I'm going to get. Like, for example, I would expect there to be some pretty big skin pores on the edge of the nose. I'm going to drag that out a little bit more so like this. And also areas like the chain, I might expect to see some fairly large textures there. But in other areas, it's just a series of quick, draggy Ay strokes. You start off in the middle and you drag out. Start off in the middle, and you drag out, and you drag out, and you drag out. And this way, I start to build up a texture. Now, imagine trying to draw in with, say, the crease tool, all these tiny little areas. This would take forever, but doing it this way. Relatively quickly, I can build up a much more subtle skin texture down around here. And my word of advice about this is, well, vary the radius of your pro strokes so you don't get one texture that matches all. Maybe a bit more under here. I mean, this could be kind of like stubble, couldn't it? In fact, let's try that. Let's come back up where I'm circling, come to the Alpha and invert the pixels. And in that way, I'm using a slightly more built up texture. That could be a bit like stubble. Okay, tap again. I'm to invert pixels because skin pools are going to go in more, aren't they? The skin stretched over the top of the nose because the bones very close to the surface there. So I'm not gonna make that very built up, maybe one or two smaller pro strokes there. Bigger strokes around, maybe the cheek area. Take a look around the ridge of the brow. Lots of little brush strokes around. Here. The main thing that's going to happen here is that you're gonna forget to do certain areas like say around the back of a head, for example. Now, the e, I want a little bit of texture there. But again, the skin is quite smooth in this area, so lots of little protrokes to build a more subtle texture. Similarly, the top of the skull. Again, the texture is going to be much fiiner around here 'cause the skin is stretched over the skull. But don't forget to do it. That's probably the main thing that people get wrong at this stage. They concentrate on the interesting bits like the face and the boring bits like the back of a head. People tend to forget. Incidentally, if you find the backs of people's heads incredibly interesting, I do apologize for calling it boring. Lots of little bits around here. Maybe a few little bits around the back just to suggest a skin texture. And again, the principle is the same. Keep turning the model around, everything everywhere all at once. I want bigger paws around the cheek area, a little bit around the eyes. Around here. Let's just try. I've used skin one a deep? Let's come down and try another one just for the look. What's this? Skin 03 a deep B. Let's drag that out. Oh. I'm starting to get a slightly scaly look now, maybe that would look quite nice. In certain areas. And definitely, if I come back, going to invert pixels is it going to work? Yeah, add a little bit more pop marks in certain areas like around the nose, you're going to get some big paws around here. Maybe come back, tap on invert pixels again. So instead of getting surfaces going in, I can drag out some slightly errased surfaces around here, maybe around here. I'm using different textures just so that I don't use one texture for everything. It's gonna make things a bit more interesting. No, I wonder if I drag out, so it's very big like that. Just give it a try, see if it works. I like that look. By the way, I will include these textures for you so you have the same textures to work with. Come back, invert. So I'm drilling things into the surface of what I'm doing. And it's by combining the different texts, I'm gonna have to stop this tutorial. My Apple pencil is about to die on me. In fact, I think it might have died on me already. Hi, Mom. Let's try. Yes, it has. My pencils died. But that's okay. That's nature telling me that it's time to stop doing it tutorial because I've explained everything I wanted to explain in this first project. It was all about Sculpting, how you start with a primitive shape and you build it up using the various tools into something that looks recognizable like this. I will come and I will come to save us. No, I don't want to overwrite this. I'm going to call this goblin, goblin tutorial. Finished. We've covered a lot of crowd. But this is your fundamental workflow. Okay, so this was the first project. There is so much more to do. For example, with this, we've just been using MAC caps. If I turn that off and take a look at it with a different texture. Or a different mac cap. One thing we haven't covered is painting directly onto the surface of your object. That's gonna be an interesting tutorial. There's also lighting your object. There's also different materials you can use to affect the look of your object. You can affect how metallic, how shiny it is, how fleshy looking it is. Then you can light your object from different angles. That will all be coming up in future tutorials. And I will see you soon. 14. Primitives, the Grid & Trackball: Before we go on to the next project, there are one or two things I want to talk to you about first. In the next project, we will take the objects we've done, and we will merge them together. Because you can do that using voxel remsh. So before we do, I just wanted to talk to you a little bit about these objects we've been using, which all start out as something called primitives, and we can control the look of the primitives to a certain extent. So let's talk about that first. Before I do, though, okay, is my little mouse. I just want to alter a couple of different settings. So I'm going to come up to the second button from top right, and I've got various panels here. You can see don't look at Debug. You don't need to know about that. So let's come to the interface because in previous videos, we did turn on Outline, if you remember. But there's another one I do want to turn on, and that's called perspective. And can you see when I do? I'll turn it off and turn it on again. You can see it appear in those little icons along the bottom left. There you go. Now, to show you this in action, I'm going to come down to where it says grid. That gives me a grid, which can be useful for letting you know which way you're facing. Look, if I put my finger or my mouse to the side and move it around, you can see that grid moves with your object, and that gives me a good idea of where I am. And also, can you see you've got your different axes here. You've got your left to right, your X axis. You've got your lu axis going front to back, and it can be difficult to remember which one is X, which one is Y, which one is Z or Z. If you're from Jolly Old England. So, let's come back to our interface. Oh, no, sorry, my bad, come to this one where I'm wiggling my mouse button. We want display settings. And scroll down and hit. Remember the snap cube? It's kind of rounded. Well, I can make it square like that so you can see top, front, right, or I can come to this icon here and if I turn that on, you can see the X axis, the Y axis, which goes up and down, and the Z axis. That can help you when you're getting used to the whole idea of X being side to side, Y being up and down, and Z being forward and backward. If you're familiarizing yourself with what's up and down, side to side and back to front, then maybe use that and then go back to either using the Snap cube, rounded or square. I'll go back to rounded because I want to see what's front, what's right and what's top. At the moment, can you see that grid in the background? I'm going to come down to that little perspective button which is now sitting on the bottom left icons. I'm going to turn it on. And when I do, can you see that? Can you see how that grid appears to go off into the distance? So at the moment, the way I'm looking at the world is that things get smaller as they go off into the distance. This feels like a natural way of viewing our little nomad world, because the real world is like that. But there are some times when you don't need things getting smaller as they go off into the distance, like if you're drawing something technical, which needs some fairly precise measurements, or if, say, you're drawing a little isometric house for an isometric game, and you want to see what it would look like if you rendered it out, that's make it a picture of your three D mesh. In which case, come along here and turn off perspective. Watch what happens to that grid when I do. You see that? This square here is the same size and area as that square in the background. So you're not getting any depth cues as to what your object looks like. And if you're finding all the depth cues from this mode to be distracting, then click into this mode. Like, especially if you're working up close and personal on some details around the eye of a creature, having it so close with depth on can get a little bit distracting. So turning perspective off, that can help your sculpting experience. Okay, look, I'm just going to do a couple of quick things here just so that when I move this object around, you're not looking at a blank sphere. And so, look, I can move around to about there. I'm more or less facing the top, but I can't move any further. Sometimes you want to go further than that. In which case, you come up to the camera. I'll look. There's what we were talking about perspective orthographic. But underneath, you've got rotation. At the moment we're set to turn table. If you turn it to trackball, and I'll do the same thing. I'm coming up, I'm coming up, I'm coming right to the top, where it locked. I can now just keep on going straight over. My advice to you with this is when you are learning, keep the turntable, because it makes things a little bit less disorienting when you're busy turning around your object from all different angles. But when you feel comfortable enough, personally, I prefer trackball. Because I don't want to come to the top and have the whole thing lock up in me having to find another way to go to the other side of my object. But for now, I will just keep this on turntable, be aware of that. Okay, so primitives, whenever you create a new file, you are going to get a sphere, and it is going to be validated. So let's take a look at that. Let's delete our sphere, and let's add a new one. Bad sphere. And there at the top, in the middle. You get various different settings. And if I come to these three dots here, well, you can see what settings we've got. And let's play around with a few of these. Now, see that? I just close that up. If I come to this little button here, just hovering over it, click again, it goes down. Come back up, click where it says sphere. There are your settings. I will turn on wireframe because we're going to need this to see what we're doing. And I will zoom in a little bit like this and come to settings. You can see what I've got at the moment. I have something which has 6,144 different little squares making up this shape. I've got my radius here, 0.5. I can make this bigger or smaller. I've got the maximum amount of faces. That's at the moment it's half 1 million or 1.2 million. I can take this right the way down. At the moment, it won't make a huge amount of difference. So maybe I'll explain this a little bit more using another primitive. Post division, what does that mean? Well, sooner or later, if I want to sculpt on this, I'm going to have to come to this button, validate. And once you do that, all these settings will go away and you can't add any more post subdivisions or maximum faces or blah, blah, blah, blah, blah. But it does mean you can start sculpting on it using things like the clay tool or the move tool or whatever. So a primitive is just where you're setting up your object to do further sculpting. Now, post subdivision, let's take a look at that. Let's take that down. What this means is that if I take it down to something like two or even one, let's do that. Okay? And then come to validate. I now have an object or a sphere with hardly any polygons, and that would affect how I work with that polygon. Just if we come up to our subdivision, it's still multi resolution. We spoke about this in earlier videos. If I take it down, your sphere is actually a cube which has been subdivided once and subdivided again. And of course, I can subdivide again and again and again to get a smooth sphere. But if I take it all the way back down, it's still basically just a cube. I will come to my scene menu and I will delete that. Then I will come and add, but let's try a box. I will to finger tap and drag to bring down to here and do what we did before. The moment you can see, I've got a few controls up here. I've got this one here, X subdivision. Let's drag that down because I can slide to the left. And you can see it's doing the same thing that I had before with the spit. I'm changing how many polygons make up this cube. I can also alter it like this. I can drag any one particular side in or out. But this one in between that stretches things outwards or inwards. Now, again, if I come to my little three dots, you can see Max face is 250,000. Well, that's quite a bit less. But let me show you something. Look, I've got the same thing here, division X. If I move that up a little bit, I'm going to come to post subdivision. The moment it is set to zero, which means if I was to come and validate this shape or this primitive, I'd end up with the squares, you can see. But if I come to post subdivision and start moving it, can you see that? If I validate, I'm going to get this rounded cube, and you can play with your settings. Look, if I come to division X and increase that, you can see I'm getting many, many more polygons, but it's affecting that rounded edge. And by riding this slider plus this slider, you can affect the kind of shape you're going to be making when you start skelting. Now, I've moved things around here, but just supposing, for example, I could post subdivision of, say, two, take the division right down. That's division of one. Let's take it to two. Let's try post subdivision. Maybe around there. Suppose I validate that. Maybe that might be a good shape to start off if I'm creating a head, for example. Okay, so, by now, you must be getting the idea. Let's just do one more. Let's come to delete, come to add. Alright, let's try. A slander, 'cause there are one or two other things I do want to show you. I can make this bigger or smaller. I'm just going to tap off to one side just to get rid of that menu, tap on slander again because sometimes you might want to move your primitive around to another place before you start to sculpt. In which case, if you come to the gizmo, you can move things around. When I do, do you notice here, I got this new panel popping up and it's got some really, really small icons. At the moment, I'm moving my primitive around. I can stretch it like this. But if I want to come back to just that tiny little icon just to the left of it and click there, then I get these controls. And I can do things like if I come to CAP, turn that on, that means that it's hollow at the top, hollow at the bottom. Turn that back on so that just the bottom's got a cap on it or the top or on both sides. The radius, if I turn that on. Well, I've got a single radius that make it bigger or smaller, if I click again. Now, can you see? I've got two radiuses, as well. What about if I click here? I can add a hole. If I click again, I can control the diameter of the hole at the top and the bottom independently. And can you see, I'm getting quite a lot of things I can do with this primitive before I start working on it. If I come to my little three buttons again, again, come to post subdivision. I can round it, come to my division X, and turn that into a rounded shape like this. And you can see these various different things that I was adjusting here using those little dots. Well, you can adjust here as well. So if you wanted to plug in some exact numbers there, that will be where you do it. So at the moment, it's not 0.66. If I click and hold there, tap in the field, I get my keyboard up. And what was that naught point? That's 0.6 let's call it not 0.69. And you can see the bottom moved up just by a tiny amount. So you can get some quite precise shapes here. Okay, just a couple of final things. The Southerner topology, this little chain link here means that all of these things are locked. So if you move one, the division X, everything else moves with it. If I unlink it, I can now move division Y so I can have less polygons going up the side than I have on the ends. You might want to do that. Division Z, that's affecting how many polygons I get on the ends. Let's lock this again, please. You've also got linear subdivision. Let's turn post subdivision to a lower amount, say, two linear subdivision. Well, let's move it around here so you can see it a bit better. There are certain bits of the cylinder which have sharper angles than others. Like if I take a look around the side of it, those are a lot of very gentle angles making up a fairly large circle. But the bit around the top, the sharper angles. But if I turn a linear subdivision like this, I can control how sharp those angles are. And if I crack it right the way up, you can see, Well, look, if I was to validate this now and turn off wire frame, I'm left with something, that because I turned up the linear subdivision, I've got sharp angles all over this thing. But if I come to the wireframe, you can see each of those sharp angles are made up of a lot of smaller polygons. Okay, so let's center that, and I'll wrap up this video now because there were a few things I wanted you to know about and understand in a bit more depth before we go on to our next project where we actually make something. Okay, see you later. 15. Pumpkin 01 - The Lathe Tool: I think, rather than showing you a whole load of different tools and not showing you how they work as part of a project, let's do a project instead. We are going to make a Halloween pumpkin. And in this lesson and the next, we're going to be concentrating on the symmetry tool, something called Boolean operations. And in either this video or the next one, we're going to be taking a look at something called the Operations panel. Okay, let's get started because the first tool I want to show you is the lathe tool. Let's get my mouse, and we are going to come up to the scene menu, and we are going to get rid of this sphere. Now, just make sure that you're facing front, if you're facing off to one side like this, just come up to where it says front. Click on it, and anything we create from now is going to be created as we're looking directly in front of it. Okay, so now I want us to come down to a tool we haven't used before. That is the lathe tool. Click on that. And then maybe you remember from a few videos ago, the various operations for this tool, like all the other tools are on the left hand side, I want to select curve. And then what I do is I come over. I'm going to use my pen now, and I'm going to draw out the rough shape of a pumpkin, a very rough shape of a pumpkin. Okay, so the first thing I'm going to do is I'm going to come back over to the left, and I'm going to turn off closed. Then undo and start again. So a bit of a dimple, big round side like this going up like that. Yeah, that is more what I wanted. I'll draw out the general shape, and at the moment, can you see, I've got a series of control points which I can move around. But can you see they are snapping to the grid? Well, I can always turn the grid off and they don't snap anymore. That's the simple way to do it, or I can come back to grid, turn it back on again because this point here at the top, I'm moving it now. I want that to be bang on that center line you see going down. Same with the one on the bottom. No, I can come and long tap on the grid, and I get this little dialogue box. And so if I want the grid for any one particular reason, but I don't want these points snapping to it, I can always come to this little button here and turn it off. Now, when I move things around, they don't snap to the grid, which is what I want. I'm going to two fingerpinch in slightly and move across so I can see what I'm doing. And I just want to make one or two adjustments so it looks more like well, a pumpkin shape. And that is a good thing about pumpkins. They come in all different sizes and shapes. So yours can be whatever shape you want, it doesn't have to look like mine. What I would advise, though, is that you have a section here where you can see coming down the side. Whoops, I accidentally press with my mouse, Ti finger tap to do that, and we come back to where we want to be. Coming down the side like this, I want the side of it to be large enough that we can put things like eyes and a mouth and stuff like that. And I'm kind of getting the look I want overall, I think, and here's a tip for you. If I decide that I want to look at this not just from the side, but maybe a little bit from the top on the bottom, if I do what we normally do and come to the outside and either with my pen or finger drag around, Oh, dear, I create something new. Don't want that. So two finger tap to do that. Instead, come up to our little snap cube, and if I move that around, whoops, I just locked it. If I move that around, yeah, I can take a look at it like this. Sorry, I'm gonna come with my finger and move around, so I get a better idea. And actually, yeah, that's looking pretty close to what I want. Let's maybe just drop that down a little bit there, maybe move that out just a tiny bit. Now, by doing that, have I move them so that they're not all in line? No, that's good. That's what I want. So let's move that down again a little bit. The bottom Ah, now, that's interesting. You see I have one of the dots, that is a little black dot. All the rest are white. What that means is that is a sharp point. If I tap on it, it becomes a curved point. Look, I'll show you that again. I will come to the point to the right of it, and if I tap on that, it becomes sharp, tap on it. Again, it becomes curved. Make a note of that, you will see that happen quite a few times on this particular project. Alright, so let's come to front, and let's come to fit everything on our screen. That is nearly there, but I don't like that little dimple at the top. So move that up there. Move that up there. And by now, I think I'm spending way too much time on this pumpkin. Let me just take a look at the wire frame. Is that enough polygons for my pumpkin? No, I want more than that because I'm going to be cutting into it and also molding it and whatever. No, let's do more than that. So I'm going to come and I'm going to tap on the lathe. Well, it says division 66. Well, I can either move things there and you can see. I'm getting a much finer division there, I'm on 522. Let's try Well, let's try 570. And let's take a look here. How much memory I've got. I've got 392,000 vertices. That's the points. And four of those make up a quad polygon. How much memory am I going to use? That's 175 megabytes out of 16.5. Yeah, I've got loads of memory to play with. The more RAM you have on your tablet or your PC or whatever, the more polygons you get to play with in things like nomad sculpt. Okay, I'm going to come to validate. I'm going to turn the wire frame off, and let's take a look at this shape. Yeah. That's good enough for the basic shape of my polygon. And just before I call this video a holt and go to the next one, I'm going to come up to my shading. At the moment I'm on it mode, I want to come to Matt cap. We were using that in the Goblins head video, and I'm going to tap on my preview because I found this one KanakiOnge. That is a nice pumpkiny type, shaded effect which I can use when I go on to the next video and start carving this shape into something that looks more like a pumpkin. I will see you there. 16. Pumpkin 02 - Radial Symmetry & Operations: Okay, so in the previous video, we made this basic shape. And I know that when I do tutorials like this, as much as possible, I like to try and follow along with the same things that the author has. So I've saved this off as Pumpkin 01 start. It is available for you as a download. Alright, so I want to come to my Crease tool and start putting in some creases here. But look, can you see the thing? I've got symmetry turned on, and I've got my two dots, but that's only two, and I'm going to have to keep on turning round and what have you. So here's a better way of doing it or shall we say a more efficient way of doing it? Come on. To our symmetry. And when I do, you can see that well, you've got that little red line. Hopefully, you can see that against the orange of my pumpkin. Well, I don't want that. I'm going to turn it off. So at the moment, there is no symmetry. But if I come to radio, I want to carve out a series of lines going down the pumpkin and maybe build them up a little bit. So I have a series of segments to this pumpkin. And to do that, I'm going to come to see here, the Y axis, this one down here. And I'm going to click and drag to the right. And when I do, can you see I'm starting to get well, at the moment, it says eight. And if you look here, I've got a little green circle with eight dots on it. And if I move my mouse over, can you see that? I've got eight little red radial dots, which means if I carve in one place, and that will be the one closest to the camera, which has the big red circle and my mouse, or the other little red dots will carve the exact same thing. I don't want eight, I want more than that, so come over and move it up to 12. I want 12 segments. Alright, tap a weight to get rid of that so I can see what I'm doing. I've got crease selected. I want these to be pretty large creases, but I want to build up the radius little by little, so I don't want my intensity on something too strong. I've got mine. I'll start with 10%, and I'll make my size. Well, that big. Alright, so now when I ca, let's see what happens. I'm not gonna press hard. I'm gonna press light and make a few strokes. And look at this when I do. I have 12 little lines which I'm carving into my pumpkin. And already, you can see it starting to look much more. Well, like a pumpkin. I'll go, Buck, I'll repeat the strokes and maybe press a little bit harder in the main body of the pumpkin, like this. And I'll fade out the strokes by pressing a bit more gently, barely touching at all, when I get to this point. Now, one thing that might happen to you is when you come close to the center point like this, maybe your brush strokes might be a little bit off, and I'll show you this I'll up the intensity. Sometimes strokes might be a little bit off like that. And that may not be what you want. You may want those to come right to the center like this, so you do have to be careful. But in this particular case, actually, I like that. Now, I will be putting a cap on top of the pumpkin later on in the tutorial. But for now, yeah, I quite like that. I'll keep that. That wasn't supposed to happen, but if something works, hey, great, keep it. And I'll put down a few more gouge marks here. And already, I am getting something which looks much more like a pumpkin. I'll make my brush size smaller up the intensity. Do I want a little bit more of a gouge? Just in the central area? Yeah, I can do that. Alright. Yeah, that's working. While I'm here, though, come on. Let's see what else we can use. Let's try the inflate tool. That seems fairly big. I'll make the intensity low and gradually build it rather than all in one go, which doesn't really work that well. And let's come and make a few brush strokes. Again, I'm just stroking lightly. I'm not going for big, harsh, all do it and one go brush strokes. Now I can move up and down. But my instinct is telling me to come around like this, but given I'm doing the exact same brushstrokes in 12 different places, then going around doesn't make a difference. It's all the same. Up and down, though, yes. Let's take a look at this. And that is definitely looking more pumpkiny. Is that a word? Pumpkine? Oh, it is now. Now, already, chances are yours is going to look a little bit different to this because we started with the same object if you downloaded the project, but just even making strokes like this, it's gonna affect the look. It doesn't matter, though. There is no one universal shape that everyone says is a pumpkin and anyone who says different doesn't know what they're talking about. Now, let's take a look at the wire frame. What 392 K 0392000 polygons making up this. I think at some point, I want more than that because I want to do some texturing on the surface. It would be good for you to see how I do that, but there's other things I want to do. And so, look, I want to come to smooth. Set pretty large, intensity about halfway, and I'm just going to smooth this a little bit, because actually, thinking about it, I am going to carve a pair of eyes and a mouth onto this. And so I don't need it to be massive bulging out ridges, because if you look at this, there's quite a big curvy shape to each one of those 12 segments. And so on second thoughts, maybe I want to flatten that down. So camp two flattened tool. Intensity is set fairly low. Let's make it fairly large radius and camp and see about flattening this, as well. And you can see what I do to one segment. I do to all of them. Come down like this. And the whole idea of me suddenly changing my mind and flattening what used to be more bulging either, A, that's me thinking out loud. Or B, I wanted to show you the flattened tool in action again. You decide which one of those is the case? Yeah, I prefer that. That's gonna give me a bit of a better surface to do my carving on. But I will just quickly come over to my smooth tool again and just smooth that because while I do want a bit of texture on this, I'll do that at a later stage when I have more polygons, but I don't want a whole load of polygons on this at the moment, because what I am going to do with this is turn this from a solid object into a hollow object, and I'm going to do that by duplicating this object, making it smaller, smoothing it out because I don't need all these ridges on the inside of the object. And then I'm going to use something called a Boolean operation. In this particular case, a boolean subtract to cut out the inside of this object, which eventually we will see when we cut out the eyes and the mouth, and we'll do the top, as well. So I will just do that now. I will come, and I will do the right thing. I will press my three little buttons, and I will come to name. Tap on the name, calls up my keyboard. I call this out. Click on Okay. Then I will come to clone. And I will call this one. Inner. That is what I want selected, but I need it to be smaller, and I don't need quite that amount of detail. So I'm going to use something called operations. Before I do, I'm going to come down to where it says X ray, turn that on, click and hold. Anything which is unselected is going to be ghosted out like kind of clear glass. I think that's what I want. I want the outer layer to be ghosted. But now I'm going to come up to this icon here. This is known as the operations panel. The tools in here used to be in various places, but this is one thing you find with nomad. It's one person creating this and they're doing a very good job, all power to them, but they have to make decisions as they go along. And so sometimes things get moved around the interface, which can be a little bit disconcerting. Sometimes you have to go looking for a tool that used to be in a certain place. But anyway, up until now, we've used various different tools like the clay tool or the move tool or the Smooth Tool. And we've brushed in the changes to any one particular part of our model. But the operations, unless you have things masked out, so it can't be changed, these sliders will affect your object as a whole. Let me show you what I mean by this. I'm going to come to this one, which I'm just jiggling over so you can see it flashing it a little bit lighter. That is called inflate. Now, if you want it, I could make the whole thing bigger like this. I don't want to do that. Instead, I want to make it smaller. Come on, down you go. And, hang on. I've turned off X ray. If I turn on Xray again, there, can you see that? I will just tiffing a tap to undo so you can see that happen from the start of the operation. Come back to our operations panel and to inflate and make it smaller. Can you see as I'm doing that? What I'm getting, I move this around is a pumpkin within a pumpkin. Come back to our operations panel. Maybe I will come to see this little looks like a little pin. If I tap on that, that means that I can move things around, and the panel stays open until I tap that pin again. So do I want it to be that thick? Actually, maybe make it just a little bit bigger? I'm trying to think how thick the outer skin of a pumpkin is all, if you've ever carved a pumpkin, you get about what a centimeter or half an inch of the outer skin, and then you get all a bit in the middle, which you have to gouge out. And then if you want, taking all the inside and sticking them coming out of the mouth of the pumpkin, like the pumpkins just being sick and stuff like that, 'cause you're dead mad and hilarious and no one's ever done that before. I don't want those ridges in there. So why don't I come to smooth and see if I can smooth the whole thing out and moving the slider and you can see that. I'm moving it a lot. It's having an effect, but it's quite slow. What about relax? Does that have an effect? Relax works in a very, very similar way to smooth. And it is nearly there now. Could I work with that? I can nearly work with that. So what I'm going to do is I am going to come back, I'm going to click here to close this panel by just tapping anywhere away. Then smooth because there's a little bit at the top. There's a little dimple there, which I do not like. Can I do anything with that? Not using smooth. Let's come to flatten. I still have the radial symmetry turned on. And if I just Yeah, I just did a couple of light scrapes over there, and that got rid of that dimple. Same at the bottom. Just one or two light little scrapes. It's flattening out. Bear in mind when you do that, when I come down here, instead of having one little red point smoothing that out, I have 12 of them all doing the same thing, so you don't have to press too hard now, let's come to smooth. Should we do that a little bit. Let's come round. Pinch in a few times. And I'm not going to be shy about this. Let's take the intensity up. I believe I told you in the previous video, you can take this past 100%. Just keep on dragging up. Now, that's going to be pretty no nonsense. Let's just turn a xy and come here and make outer object invisible by just tapping on that little icon. Okay, so smooth this out. Yeah, that is having an effect. It's pretty subtle. But you know what? I think I'm overthinking this. I think that is going to be plenty good enough for the inside. What I didn't want were those deep grooves like I have in the outer layer. Okay, I'm going to come, and I'm going to save this. I already saved it once. I'm gonna save this as pumpkin 02 ongoing. And I will export that out to you so that again, you can start from the same point as me, because now we are going to go in the next lesson to cutting one object out from another by using Booleans. 17. Pumpkin 03 - Boolean Subtract: Okay, just to make sure we're right up to date. I have been exporting these files out, and the file that I've got for you to download for this lesson is called Pumpkin 03 Booleans, so we're working from the same point and just so you know. Come here. You got your outer layer, whichever I'm making visible shows me the inner layer. So what I want to do is cut a hole inside that pumpkin so it's hollowed out, and then I want to cut a pair of eyes in there and some teeth. And also, I would like a cap, as well. You know, the bit where you cut around the top of it to scoop out the insides. So we're going to do that using booleans, and look, I'll make a prediction. Anyone who's been doing three D modeling for, say, the past ten years will say, Okay, great, Booleans. And anyone who's been doing three D modeling for more than 20 years might be feeling a little bit breathless and nervous right now. Because I can remember a time when no matter what three D package you were using, booleans were just nightmares. And every time they upgraded the software, they'd say, guess what, guys. Booleans new work a treat, and then a year later, they'd upgrade the software and they'd say, guess what, people. Now Booleans really do work. And with Nomad Sculpt, as with just about any three D package, occasionally, you'll get something called operation failed, which means Nomad sculpt or whatever three D program didn't know how to do it. Maybe that will happen on this video. If it does, I'll try and show you various different strategies to cope with it. But what we want to do is we want to take our inner object, that smaller object, and we want to cut it out from the outer object. To do that, you need both objects selected, but you need the object which you're going to do the cutting with to be invisible. And this is what happens. Great. Make it invisible. Oh, dear. I've got both of them selected, so they both became invisible. So come to the outer one. That makes this one not selected, the one underneath, and make that visible. Then come down and make the inner one active as well. So now, if you take a look in the scene menu at our list, outer is selected because of the tick mark, and it's visible. The inner one, the cutting one is selected, but it's invisible. And now, without further ado, come to the Boolean. And let's come down to Boolean here and just click. Is it? It's having to think about it? Please work. Did it work? There's one way to check. Come down to Xray. And at the moment, Xray is unselected stuff. I need the selective thing to be Xrayed and let's take a look at Let's move it around. And yes, it's done it. You can tell from the X ray shape that you've got the outer layer plus you've got an inner hole in there. And hurrah. Drinks for everybody. Well, no, not yet, because we still have things we need to do. Let's turn off Xray and carry on going. The first thing I'm going to do is come back to my seen menu. Well, it says inner, let's rename that two pumpkin. And I bet you a chocolate biscuit. I'm going to have to rename that again because I'm going to be doing more of these Boolean cutouts, and that will probably be renamed. What I am going to do, though, is I'm going to come to clone. Pumpkin one, yeah, okay, I can go with that name. What I am going to do is come up to add, and I'm going to add a group. So now pumpkin one is inside a group, and I'm going to call this group. Spares. And if you're doing things like booleans, this is a good insurance policy. You've already seen we spend a bit of time making this pumpkin. But in case it all goes terribly wrong, I just want a spare, and it may happen that I duplicate that again in case I want to do some more cutouts. I think that might happen later on. I'm going to come just to see that little triangle facing downwards, and I'm going to click on that. That closes that group. But I want that group out of the way because at the moment, I have the pumpkin and I have the spare pumpkin sitting in the exact same place. If you're doing something like Booleans, that is practically asking for trouble because Booleans cut one mesh out of another. And if you've got two objects sharing the exact same space, that is the kind of thing that can lead to failure. I'm going to make sure that my spares is selected, I'm going to come to my Gizmo tool and I'm going to come up to hip this icon, tap on it, and I've got a setting for Gizmo. I'm going to come and pin it open by tapping that little pin icon. Translation is set to zero. Translation, that's where it moves. And also, I want to move this off in this direction. Now, that's 1.19. Let's move this because I can enter a numerical value here. Let's move this, say, three units, if I zoom out there, three units away. So now if I want to move that back to the exact same place, I can come back to translation, enter zero in the X axis, and all being well, that should snap back to exactly where it needs to be. The last thing, I will make the whole thing invisible because I don't need to see that and come back to our pumpkin again. Unpin this so it'll close, and just two fingers pinch, Zoom, rag. And we're ready to go again. I'll make this a fairly short video. In the next video, let's add the eyes and maybe the mouth. We'll see how that video progresses. 18. Pumpkin 04 - Boolean Eyes: Okay, the next thing, I want to create the shape of an eye, which I'm going to use to carve into the face of this pumpkin. To do that, I'm going to use a tool which caused great happiness and celebrating in the streets when it was included in one of the previous versions of nomad, and that is the Tube tool. Before I do, though, I'm going to come to let's come to the front. Actually, no, let's come round to one of the sides. Let's try the right hand side to do the initial setup for this, and I'm going to come to the Cube tool. Now, the first thing to note, I'm set to view. The only thing that's gonna happen now if I do anything is I'm gonna move my view around. I don't want to do that. I want to come to curve. It's not closed. That's good. And all I'm gonna do with this is do a quick line like that. I've got a series of control points again. That is the basic of what the curve tool can do. You can build up a little pipe, but you can do so much more with it. I'm gonna come to this little orange circle drag out because I want this to be bigger. And I don't need this one in the middle. For now, all I need is a straight line. I'm going to take this and I'm going to drag it to this one, you see how it turns red. And once I let go, it means that particular point has now disappeared. So now I just have two points. I would like these to be facing directly towards the pumpkin. We're looking at the side, so this should be at the front. Although having said that, it may be at the back. I'm not going to worry about it. For now, I would like it to snap to the grid. So let's come down to the grid, tap and hold, and turn on Snap. So now when I move that around, Oh, look at that. It snaps. So now I have something that faces directly towards the pumpkin. Now, I'm looking at this division of 30, that's not nearly enough divisions. I'm gonna slide to the right on the division, and can you see how I'm getting a much finer mesh there? I've taken this to about somewhere around 150 mark. So I've got plenty of things to play with. So now what I could do, well, I could come to validate, and then that would turn that into a mesh, and I could push it into the side of the pumpkin. In fact, let's just do that. And then I could cut out, well, a round hole because look if I come round. Oh, yes, I did get to the front. That's nice. Tap on the front, I would just get a round hole. I want something a bit more characful than that. So let's move this down here, so we got plenty of space. We can see what we're doing. And this is going to be one of the eyes. I will mirror the shape, so we end up with two eyes, but what I'm gonna do is I'm going to drag this so it's off center like that. Look if I come and I show you. All I did was drag first one point, then the other. So now it's off center. That's what I want. Come back to here and just come to my snap cube, come back to France, pinch outwards so I can see what I do. I've got plenty of space. I don't want a round shape. So I'm going to come to where it says profile. You see that? That's what we're looking at. It doesn't look particularly clear, but if I come to say this point here and I move it around, can you see what's happening? I'm affecting the look of that tube I made, instead of it being round, now it's square. And it would be nice if I could drag this into the shape of what a pumpkin eye, I think kind of an evil shape like that. But do you notice what I'm drawing here is not the same as what's happening here. It's like the whole thing has been twisted around. That can be a bit of a drag until you realize Show and viewport, turn this on. Oh, look at that. Now, instead of having to draw things out here, I can draw directly here, I can make the shape. I am going to come back to profile again, and I'm going to do what I did before. I'm going to pin it just in case I need it, drag this down a little bit. Now, where's my halfway line. That's about the center here where I'm dragging up and down. That's the midpoint of what's going to be the face. So when I do this, I'm just going to bear that in mind. So I was fairly close together. Evil eye like this. And this is so much easier doing it this way than having to rely on that little graph window. Remember we telling you, if you tap on one of these points, you convert it from a sharp point to a curve point, tap there, and I've got a rounded chape. I can tap here in the middle. Hopefully, you can see my red dot there. And if I tap, I create another point, drag that down and tap the point again to turn it into a curve. Straight away, I'm getting a nice, evil looking pumpkin. I like this. I'm just imagining now what that's going to look like when I duplicate it or when I mirror it, so it's onto the other side. And I think that's looking quite nice. Must be careful to leave a bit of space for the mouth, as well, so I don't want to go too deep. Maybe about there, maybe. And you know what? I'm feeling so pleased with myself. Shall I do this? Yeah, go on. Put a point there. Put a point there, make them both sharp. Drag this up, so I'm getting a bit of an eye shape there. Add another point there. Tap it to make it rounded, add another point there, drag it down. Tap it to make it rounded. What I'm aiming for here have a little eyeball or a little eye popping out. Because I've said, Yeah, great. At booleans great when they work. So let's test and see how this works. Okay, I'm going to unpin here and I'm going to close this window. Let's take a look at this from different angles. It's nully there, but it's sticking out too far. Now, it doesn't need to go straight in and straight out, does it? In fact, I'd like a little bit of an angle to this. Let's move this over there. Let's move it further in. Let's drag this point, as well. What I'm aiming for is to make sure that can you see that little blue line, which I'm focusing on now, that is the line of symmetry. And I want to make sure that when I mirror this the eyes aren't too close together. And I think that is probably about the right angle because imagine you're cutting with a knife, you cut straight into it, and you move the knife around as you go around the pumpkin. Okay, is that gonna work? Me? Nervous, no. Come, let's come to validate. And then come up to our see menu come to add. And I want to come down, and I want to add a mirror. See that? It creates a version on the other side. Now, I'm just going to try and imagine this. If I was to carve that now, I think those eyes were a little bit too far apart, so I'm gonna tap to select the one. I'm going to come to my gizmo. I'm going to move it. And as I move one, the other one mirrors what goes on. So maybe about there, would you say? One thing I am going to do, though, is I'm going to come to the mirror again, and I'm going to validate it. Yes, I want to validate it. And I want to join the children. That is going to have the effect of making, well, those two children effectively one object rather than two separate ones, and there's no mirror modifier there anymore. Because I just made the whole thing into one object, that reduces the chances of there being any failures when I come to Boole and subtract. And what do I want to do? Well, I need both objects selected, but I want the mirror. That's the eyes. I want that to be invisible because that's the one I want cut out from the pumpkin. So they are both selected. But the mirror or the eyes, they are invisible. Come to Boole. Take a deep breath. Here goes nothing. And Hey, I worked. And I'll tell you what else I think? I'd like that to be a bit bigger. To fing a tap to undo. Come to my scene menu. I want to make sure that only the eyes are selected. I have gizmo selected, so you get, well, there's the gizmo, come to the outer ring and make both of those pumpkins bigger. And let's do the same thing again. Both objects selected. Go on. You're selected, as well. But the eyes or the mirror become invisible. Oh, come on. Select that. Select that, make it invisible. Now come. So now, both objects selected, but the mirror is invisible. Lean. Lean. And it did it again, and that is the size I want. Oh, happy days. I'll choose any other brush so I can see this without the Gizmo in the way. And what am I noticing here? Wireframe. Zoom in. Because I'm close, I'll have to use the snap cube to rotate around. There's a bit there, just on the corner of the eye, which I'm not so keen on. Now, that's not the kind of glitch I'm talking about. Usually with Booleans, either they work or they don't work at all. So I'm wondering if I didn't push in that eye shape far enough. Either way, look, I don't like that, so I'm going to to finger tap to undo that. Come up to my snap cube and move around like this. Zoom out a little bit. I'm going to turn off wireframe because that is distracting. I will come up here and just make my pumpkin and well, let's make my cave bits, my mirror bits visible. I'll make the pumpkin invisible. Oh, I think I see what's happening. Take a look here. I ended up joining these two bits. That's not what I want. So to finger tap, too finger tap, to finger tap. Keep going backwards until I have two separate objects. There. Now I've got the mirror. I want to come to my tube. Come to my gizmo and move these bit further apart. Let's just double check that again. We'll take a look at the pumpkin. They're still joining at some point. I'll make them a bit further apart. But where they join it, I think it is past the point where I'm going to carve. By the time they meet, they're already inside the hollow bit. Although, look, I'm being paranoid, I'm just going to move this out a little bit like this. And let's repeat what we were doing. If they're a bit further apart, then, well, although, come on, I can check this. Come down to my X ray. Lo and hold unselected. And now I've done that, I can see much more clearly where the outer bits and the inner bits of that pumpkin are. So if I come directly to the top, I can afford to move that around a little bit. That should make the eyes nice and close together, but I shouldn't get that same glitch that I got last time because the point where they cut is well inside the hollow bit of the pumpkin. Let's come and turn X ray off again. Let's come to our mirror. Let's validate this and join the children again. Yeah. So now I have one shape. Let's try that again. Now, what's the right way to do this? Select the mirror or the eyes and then make it invisible and then select the pumpkin. Yeah, that's the way to do it. And that's before. Boolean and There we are. And yes, look if I zoom in. I don't have that little glitch, which I had before. Right, I've got a challenge for you. You saw how I carved out the two eyes. I want you to do the same thing for the mouth. I'm not bothered about the mouth being symmetrical. I think it's got a bit more character to it when it's not. And actually, when I get to a certain stage with this pumpkin, I'm going to start pulling and pushing the whole thing around, so it's less than symmetrical. But so far, there are two eyes. Try and do a mouth, using the tube tool. Give that a try. If you're not feeling confident, that's okay. I'm gonna be doing the exact same thing in the next video, and I'll see you there. 19. Pumpkin 05 - Boolean Mouth: And we're back. I'm wondering how you got on with that. If you did manage to do it, very well done. It's not that easy to do. But okay, I'll give it a try. First thing I'll do, I'll come to the top, and I tap on the snap cube so that I'm facing directly top. I will two finger drag like this, and oh, look, here's a tip for you. Occasionally, when you're dragging things around and you want to be looking directly from the top or from the front or from the right or whatever, occasionally, you might let go and oh, you nudge it out of position like this. So that means you have to come back to the snap cube, tap again. And hopefully, you don't do it. But if you come to this little padlock, which I'm coming to now, that means the view is locked in terms of its angle. Now I can move things around. I can make things bigger or smaller, but I can't affect the angle. You can see I'm sliding one finger up and down, and we're getting a message there saying lock camera. So that can be useful. So, come to our tube tool. I don't want a view selected. I want curve. And quick drag there, and already that's more points than I need. I will come here and uh, what a mess. Come down. To my grid. I'll turn snap off just for a second, because I think that's gonna make my life easier to drag these various different points into each other. I'll come to this one, drag it down till it turns red, and let go get rid of that. Do the same with this one, drag it up until it turns red. That gets rid of that one. Now I will come back to the grid and turn snapping on. Although I don't really need to, I just want this to be facing directly towards my pumpkin, like this. Come on, I can make it bigger like this. I'm going to bully in this. And you can see if I come to wireframe the resolution of this particular tube. That is a low resolution. There's not too many polygons. You compare that with the pumpkins resolution. That's much higher. So I'm going to come up to my division again and I'm going to drag holding my finger all my mirs down, I'm going to drag to the right and increase the division until I get something which looks to be about the same resolution as the pumpkin itself. Because when you start joining things which have different resolutions, you can start to get one or two issues which? Well, let's just say you'd rather avoid it. But I'm going to come up to here and I'm going to unclick that padlock from the top because now I can move this around like this. Cook it going on the front. I will come to this, probably the front one. I'll drag that down a couple of squares, and that one down a couple of squares because the snap is still turned on. But I will do what I did before. I will come up too, the profile. It's skewed off to one side. Who cares? Because I have Show in Viewport enabled. Don't even need to look at that panel. I can just move this around to where I want. And is it snapping? The points? No, they're not snapping. That's great. I'll move one point to there. I'll move one point to there. I will move one point to there. I will move one point to there. I will drag this down like this. I will drag this down. You know what? I'm not gonna keep on talking all the way through this. All I'm gonna do is add a point. Drag it up, add a point, drag it down. Add a point, drag it up. I've established the general shape of the mouth like this, but now I'm just refining it. Adding all the points I want to get that kind of nice jaggin mouth effect, which is very popular when you're carving pumpkins, or at least it was when I was doing them, and my kid insisted, give it pointed teas, Dad. As opposed to now when they say, Oh, come on, Dad. We're too old. Ta enough. Drag that out, and Tap wants to make that a curvy shape, and let's make this there. And let's do the same with this. Tap wants to make it a curvy shape. Drag this down. Curvy shape here, so Tap wants to drag that out. Tap again to make it a curve. This one. Tap again. Make it a curvy shape. Yeah, I know. It's a crude shape. That's the point. Just a little bit of fun. And also, wild criticism which you find aimed at computer based shapes is that they are too regular. They're too perfect. Well, great. Not a problem. Let's make this imperfect. Alright, now let's come to our snap cube and drag down using that. That's going in there, but it's going in there with all those lines, all those different cutting marks going parallel. I could do with this end of my shape being thinner than the other end of the shape, not a problem. Come to where it says radius. At the moment, there's just one radius fits all. But if you tap again, oh, look at that. I've got two radius markers here. I have the one on the outside. And I have the one on the inside. Let's drag that in like this. And yeah, that's letting me get more the kind of shape that I want. As I said, it's like somebody trying to cut in at a right angle to the pumpkin, no matter where they're carving from. So that is working, as well. Maybe make that a little bit smaller. I'm pretty sure. Yeah, that's definitely on the inside. So how is that gonna look? It's pretty close to that eye. I don't really care about that. Oh, now take a look before I do. If you remember, I upped the division here. But now I've dragged it around. Again, I have a lower resolution on that cutting polygon. I don't want that. So let's up the division again. So I've got some polygons which are roughly the same size as the actual pumpkin itself, and that looks about right. I can to validate and do what we did before. So what is it? Te. Well, that's the teeth. That's selected, that needs to be invisible. The pumpkin, that's the bit I want to cut it into. That needs to be selected and visible. And, oh, please, please, please. Whoa. Turn off wire frame. Oh, yes. The next thing I want to do, well, you know how when you carve a pumpkin, you carve into the top, pull it out, and then you yank out all the inside. Well, we need to do that. But just subtracting is not gonna be enough for that. What I need to do is cut out a shape but still have the shape I've cut out as a separate object rather than just disappearing and leaving a hole. All right. Let's give that a try. Wace more, let's come to the front. Let's drag down a little bit. Let's come to tube is active. Grid is on. Let's quickly I just did the thing that I told you not to do. Tap the snap cube where it says front to snap again. I don't want view selected. I want curve. And quick drag out. Take a look at this, drag that yellow bit up until it disappears, drag that point down until it disappears. So take a look at grid. It's set to snap, so that snaps there. That snaps there, and we go in like this. Drag it out. If I two finger tap or two finger drag inwards, that works, but I know as soon as I do one finger to rotate to the top, I accidentally make a new tube. Don't want that two finger tap. I'll probably show you that a few times because I can almost guarantee you'll make the same mistake. Instead, let's drag using the snap cube. Tap where it's this top two finger drag here. Okay, I want this to be bigger. I want this to take up a lot of the top. And as we did before, let's come to profile. They're all sharp edges. That's fine by me. And let's just start. Dragging this into shape, dragging this into clays. I'll need a roughly circular shape. So first of all, I will drag out a roughly circular shape like this. I say a rough circular shape. The emphasis is on rough, then I'll start dragging points in. Oh, I went slightly off. That's not a problem. Come back, tap where it says, top on the snap cube. In fact, come on, let's come on padlock this so that I don't accidentally knock things again. And just come in between those rough circle points and just drag new points into the middle like this. Let's come back and unlock the view and use the snap cube to navigate around to see where we are, to finger tap to drag and come to our radius. So I've got a start and end radius. I want this bottom one to come in a little bit like this. Actually, no, I want to go out so that I'm creating something which, again, looks like whoever carved it didn't carve all the little lines at the same angle. About that, I'm just keeping an eye on that I yeah that is that looks about close enough. And I think it's in deep enough that it's gonna cut right through that inner shell. Oh, no, let's turn on wireframe before I do. Oh, I need those subdivisions to be a lot more, so let's drag to the right and drag to the right again. Does that look to be a similar scale? Maybe about there, come to validate. Now, here's the thing. I don't want to just cut stuff out of this pumpkin. I want there to be a hole, yes, but I need the top bit that you cut out and remove to be sitting on there afterwards. But if you remember, when we do these boolean operations, one of the objects disappears. And so I'd either end up with a pumpkin but no hat or the hat, but no pumpkin. I will work through this and you'll see what I mean. Look, if I come down to wireframe, I'll make sure my main pumpkin is selected. Come up to my scene menu, and I'm going to clone it, pumpkin two. That's fine. And if you remember me telling you when you have two objects like we've got at the moment, which share the same space and you start playing with Booleans, that can lead to all kinds of problems. So let's come to our gizmo. For pumpkin two, let's come to our settings. I'll zoom out a little bit. Come back to our settings, and let's just lock this for a moment by coming to the little pin. I'll drag it off to the right. I'll make it just what is it? 1.5, three, four, blah, blah, blah. I'll make it 1.5, so I've got a definite amount there, 1.5 and okay that. The important thing is that that duplicate pumpkin is not occupying the same space as this pumpkin. And two fingers drag inwards like this. Now, let's do the fun one first, because you can either subtract with Boolean or you can intersect. Now, what have I got here? I've got pumpkin. Yeah, that's the one I want, and I've got the tube. Let's move that up there. Now, in order to do the Boolean, it's called an intersect. And what that means is the shape you're going to end up with is the bits where both that hat and the pumpkin both occupy the same space. You'll see what I mean. That is a Boolean intersect. For that to work, you have to have both objects selected. By this time, both of them invisible. Come to Boolean. Click. And look at that. There's your cap. And so while I'm feeling all pleased with myself, can you see the mistake I made? You got it? I only made one cap. For this to really work, I need that shape. Plus, also, I need to use the same cap to cut out of my other pumpkin shape, my cloned pumpkin shape. So it could have been so beautiful, let's just quickly go back and do something about this. Both of them on. Just the tube selected. I need to clone that tube, come to my gizmo, open up my settings for my gizmo, pin it, move it. How far away was it? 1.5, isn't it? 1.5 looking okay. That's in the same space. Oh, no, hang on a second. I'm worried. Look, can you see this bit? I've got a slight bit where that cap or that hat overlaps slightly. I don't want that. So let's come here and let's add in. And, come on. Let's come down to our spare pumpkin and make that two, as well. So throughout the space, they should be relative to each other, but they're both two units away from our original. Alright, so let's try that again, shall we? Come here. Make sure we've got the right things selected. No, now I'm doing the guess which shape I should be using because I just left the names as tube tube, one, pumpkin, one, pumpkin, two. This is why it pays to name as you go along, which can be a bit tedious, let's face it, but it can help in the long run. Now, double check this. That is the right shape. That is the right shape. Make sure they're both selected. Make sure they are both invisible. Come to Boolean. And there's my hat. Now, let's come over. And let's so it's well out of the way, but let's come to this one and move it to zero, so it's back to where it was. Let's come to this shape and move that back to zero. And let's try Boole and subtract with those. We've got pumpkin two, and we've got u one. Those are the right ones I want. Okay, I'm getting paranoid here. I'm going to rename the top one, too. Cap. So I always know what that is. So we've got u one. That needs to be invisible. And pumpkin two needs to be selected and visible because we are going to do Boolean subtract. And because one is visible and one is invisible, we're going to get subtract. And there we are. Let's unpin this, close it. Let's come and tap on this. Move that down. We now have a pumpkin with a cap. I will come, and I will I call this pumpkin 04 card. I will come to save 55 megabyte file, I should be able to get that to you. I've used up 529 megabytes of RAM. I've got 1.41 million polygons. Yep, you should be able to load that up if you want to follow along, so I will come, and I will come down to export Nomad Export all. Yes, I want to export everything. Export, nomad. Come to AirDrop. There's my map book. I can zip that up for you so it's ready for you to try in the next video. Come to Dan. Let's stop this video. We will carry on in the next one. Where? What should we do? I think we'll use the tube tool again to create the little green stalk on top. Alright. I'll see you there. 20. Pumpkin 06 - Create the Stalk: So where were we? Yeah, that's right. We want to put something on top of the hat. What's it called the stem or the stalk of the pumpkin? So, we will come to the front. Let's give ourselves a bit of space to work with. And we'll come once more to the tube tool. Now we're going to use the tube tool in the more traditional way that you use it, but it's good for you to know it's a really flexible tool. You can do so much with it. Let's come to curve. Definitely don't want it closed. And I'm just gonna draw out a rough shape. There you go like that. Do you think you tapping drag down like this? And let's see what we can do with this shape. I'm going to come to the top. I'm going to start dragging these points around. So I get a more of a character ful shape. Whoops. Did it again dragged out rather than dragging from this cube here. Let's take a look at it from different angles. So I've got quite a bit of twisting going on. That needs to come down, doesn't it? So it's right in the middle or going into the surface of my cap. And for this, let's make it quite twisty, quite stylized. Move the points, and if you want to move the view, come to the snap cube and move it around like that. But look, this is a basic shape, and that's okay. That's all very nice and good. But if we come up to the radius, if we tap once, we can make it overall get thinner at one end, which is looking nice and thicker at the other end, which is also looking nice. But if we come and tap again, we get those little radius points wherever we have a control point. So I can come down to just this one at the bottom and make the bottom flare out like this, which is much more the effect we want. In fact, can we add a bit of variation to this bit of thick and thin? Not too much. People expect the stoch to get thinner as it goes along, but I can alter the points, make it thicker and thinner in various different places. Yeah, I know, thick and thin, blend opposites. Like I've got a habit of seeing. Yeah, that works better. Now, what about if we come back up to the profile? Definitely don't want that square profile. So what I'll do is, well, let's come and take a look here. Tap, tap, tap, taps are good. Back to round again, but let's add some little points in here so I can really start to get the idea of What you get these little indents going up and around, which I think is gonna be rather nice. Another little indent there. Now, the division, again, I think it's looking What, I need more polygons in there. So let's take the division up again. Trip out there. And if that's not character full enough for you, take a look next to Radius. You've got something there called twist. And that gives me a little purple point down there. Watch what happens when I drag that little point. The bottom is twisting. The top is doing it in a different way. I'm creating a little kind of spiral effect as I'm going up. But like the radius, I can twist the top and the bottom independently. That's where I was starting to get some really interesting shapes. But even more than that, I can have twist at any one of these control points. So I can twist this section by quite a bit. I can twist this section by not as much. I can do whatever I want with it. I've got loads of things I can do here. Just pick a point at random and just see what it looks like if it works. Great. If not, not a problem. Now, can I get really tricky with this? Can I add another control point and move that in? Yes, I can. Kind of make the whole bottom bit a bit bigger, can it? Can I get away with this? I'm going to add another point to the actual line itself. Make that bulge out a little bit and come to the very bottom one and drag that in a little bit. So I'm even getting a bit of a bulge at the bottom. Look at that lovely herotful shape. And I did the whole thing just by pushing and pulling various different points. Let's come to validate. Now, we are going to be painting this 'cause we haven't done any painting yet. But just for now, let's come too. Our mat cap at the moment it said to orange, I want to give that stork a different mat cap color, so I'm going to turn off global mat cap. Otherwise, everything would change. And what am I going to use? Uh, trying to find a McCap which looks different enough so that, I just want to get the overall effect of things looking a bit different. Now, if you take a look online, you will find things called McCAp libraries. And so you can see the Import button there, you can import McCAps. Okay, I can go with that. There are just a couple of more things I want to do before I'm going to call the model finished. And that is that tube Name two Stork. The cap is already named Cap. That's fine. I'm going to make the stork a child of the cap by just dragging up and you see that little connecting line, let go there. Now if I come to the cap, then come down to my gizmo, I can move it around like this. I would like that gizmo I don't do this. Come to the front. You can see my gizmo, the center of that little set of arrows and circles. That is beneath my cut out cap. I would like it to be raised up so that it's easier for me to move that cap around to the angles that I want. So not a problem. Come to where it says, pivot. And when I tap on that, you can see those lines in those circles got a little bit lighter, a little bit more pastly. And what that means is, I can move this up, but you notice the object doesn't move. Shall I move it to about say there. And then when I come back to pivot and turn it off again, it becomes active and I can move this cap to whatever I want. So maybe say around there because whenever I've carved a pumpkin, you need to kind of set it at a bit of an angle. And I think that just about works for me. 21. Pumpkin 07 - Decimation: This file is called pumpkin 04 a faceted. And it's available for you as a download if you want to follow along. Just so you know, though, remember I had all those spares in my scene? Well, I've taken all of those away because I have to think about how big the file is for you to download. So I've taken away anything that we don't strictly need to be able to carry on with this tutorial. So in this video, I want to add a little bit more detail into the body of the pumpkin, and then eventually we will go on and paint it. And later on we'll start lighting our scene and seeing the role that lights play within Nomad sculpt. But for now, I am going to come up and I am going to tap on the stalk, I am going to come to to the materials panel. Because if you take a look at that, you can see it on the screen. You can see the individual squares that make up that shape. Sorry, I should say, squarish polygons, wireframe on, wireframe off. And so I want that to be smoother, especially when I come to paint it and things like that. That is straightforward enough. Under the materials panel, come to smooth shading, turn it on. There you go. That is fine. That's good. Okay. Now, what about the main body? Look, if I zoom in, you can still see those polygons if I was to zoom out. Supposing my final picture is gonna look like this. You're not going to see the individual polygons that make up the shape. It's far enough out that it just doesn't happen. But supposing I wanted to be a bit closer like this, then you can just see them so. Let's do what we did before. Let's actually tap on it. It flashes purple very briefly, and that lets you know the body is the selected object. So come to material, pumpkin body, and let's do the same thing. Smooth shading. On. Oh look at that. I'll tap close that panel. Well, you can see the main body of the pumpkin is okay. It's nice and smooth. But what about these edges? What is happening there? Well, look, if I come and I turn on the wire frame again, maybe that will give you an idea. You can see the main body of the pumpkin. That's a whole load of polygons or quads, all laid out, nice and neat. But when you come to the bits where we started cutting out by using other objects, Nomad has had to make some decisions about what happens to the geometry around there, and you can see it's added rather a lot of triangles. And so if I turn off wireframe, those little irregular triangles are giving me a bit of a problem because Nomad, like any other three D program, knows that usually you don't want to see the little polygons, you just want to see everything nice and smoothed over. But here's the question. How much of a brake angle does it have to be I thought nomad or any other three D program knows that it shouldn't smooth things at that particular angle. And in the case of this, if I turn on the wireframe again, in other programs, things like blender or light wave three D studio MAX, you can specify something called a smoothing angle, and a lot of the times that might be, say, 30% or 40%. And what that means is, if that brake angle angle between one polygon and another is less than 30 degrees, it gets smoothed over. If it's more than 30 degrees, then the program won't smooth things over and you get a sharp edge. Not a problem. Here's the thing with nomad, at the time of me saying this, there's no way to adjust the smoothing angle. I could export this out as an object into a program like Blender, for example, or any one of another different programs. And this wouldn't be an issue. Because you can specify what the smoothing angle is. And that's fine if that's what you're planning on doing. But let's imagine, no, we're staying with nomad, so we're left with. This problem, let's zoom out a little bit on this. So what can we do about it? Well, there are options. The most effective option, I would argue, would be to use something that I can't really talk about in this video. Maybe I'll talk about it in another one. This thing, quad remesher. If you are new to nomad, you will not have this. You have to buy this as a separate add on for nomad. And I won't say too much about it now. It's basically like vaxelRmsh deluxe, where you can specify where you get sharp angles, where you want the most polygons in your remeshed object, and how many polygons you're going to reduce down to. But I can't say too much about that because not only is it a paid add on, which I can't assume you have, but also it's not available for Android, so that would be a bit unfair if you're coming from that platform. So what is left? Well, in that case, we have to come up to a multi resolution panel with various things. I could try doing a voxel remash at a really high amount. Let's try that. Let's try. Let's try over 500. And look at this, keep sharp edges, 'cause that is a sharp edge, isn't it? The bits which cut in. Let's give that a try. Multi resolution will be lasting, I can live with that. Not ideal. Let's take a quick look at the wireframe for that. Okay, so let's undo that. Now, let's come back up again. And there's something we haven't seen before called Miss or Miscellaneous. And inside here, they've got something called decimate. And if I turn on my wireframe for this, if I come to decimate, a couple of things are going to happen. Target triangles, 50%. That means I want to try and take away polygons from here. And at the moment, I want half as many. So 50%, let's press decimate. And that's a photo of iframe. That's actually looking a bit better, isn't it? But notice one thing as well, look if I see him up close and personal. I'm starting to see triangles appear. Now often people don't like triangles. They don't like working with triangles. But let's come again, decimate again, see what happens. Hmm, starting to lose it a little bit, try decimating again. Yeah, that's looking way too crude. So I'm going to two finger tap to undo and two fingertap to undo again. That was the best result I got. At which point now is the point where I turn around and go, Well, look, if I come back to multi res, I can subdivide. But these two things here, sharp border, I will turn that on because I want to try and keep that sharp border. Also, look if I turn on wireframe again, and zoom it way up close and personal. When you're getting triangles, you're getting them where I cut into the surface of the pumpkin. And so, well, let me show you this. If I turn off smoothing, those triangles are giving me a lovely sharp edge without the smoothing. So when I turn it on like that, it's not helping. But if I come to here and I keep the triangles, hopefully I can keep the triangles along that sharp edge. And so hopefully the sharp edge should be kept. Well, that's the theory. With this, you're only going to tell with the wire frame of the pumpkin body is Look at that. Bang on 1 million polygons. Let's subdivide. With these two options on, see what happens. Yeah, this will have nearly 4 million vertices. Are you sure? Yes, I'm sure. Now, that is looking better, and this is me looking really close and personal. So I take it out to so even here where I'm not even seeing the entire object, I noticed when I zoom in and out, you can see those little marks, but when I let go, I give Nomad a little bit more time to work things out, and it's giving me those smooth surfaces. So that is definitely one way forward. Now let me take a look at the wireframe, how denses it. That's very dense, but you know what? I don't mind. I want to add some fine detail on the surface of this pumpkin. And how many gigabytes am I using? One or three quarter gigabytes out of 16. Yeah, I've got plenty of memory to play with. 22. Pumpkin 08 - Fine Detail: In this video, we're going to be adding some finer detail onto the skin of the pumpkin. I'll just doubly check by tapping on the lid, then on the body of the pumpkin, make sure that is what's selected. Now, you can see, I still have radial symmetry enabled. So this should be a pretty easy affair. Now, one of the last things I'm going to do to this is push and pull it around so that I don't get this very symmetrical shape. But I'm going to leave that until afterwards because texturing this, while it still is, well, apart from the face, a symmetrical shape is just going to make my life a little bit easier. So I have the crease tool selected. Take a look at my settings. I've got the radio set pretty small. I also have the intensity set pretty low. And so let's just come to a segment where the body hasn't been carved out by the face. And just come and make a few barks like this. Turn it round, and you can see pretty quickly, I'm building up a texture on the surface of my pumpkin. I'm just gonna do some criss crosses, as well, so that not everything is heading in exactly the same direction. There should be a little bit of variation there, I think. Oh, by the way. As I may have mentioned on previous videos on previous courses, this isn't me trying to do a deep sexy voice. This is me with a cold. So don't worry. Give me a week or so. I'll go back to talking like this. Yeah, yeah. I can hear you. Yeah. Alright, thank you. While I'm here. I'll come to the top, as well. And is that working? No, it isn't Ps. If I just don't do it a few times, that's not working because for the pumpkin head, I don't have symmetry enabled. So I will do what I did before. I will turn off the X plane. I will up the radius what was it? 12? I can do 12, and turn enabled, and life suddenly became easier. Well, more understandable. I'm just checking that against the surface of the body. And yeah, I think that is working. I was a bit worried because if I turn on my wireframe, I'll just come down now, you can see the density is different. The body of the pumpkin because in the previous video, we set about decimating it, subdividing it, but we didn't do that with the top. And so I have different densities. Now, I can't check anything while the wireframe is turned on, but turn it off again. Take a look at it. Yeah, I'm not getting a mismatch in the textures hit. They both look like they've got the same or similar enough texture that I needn't worry. Okay, so I'm going to carry on doing this, but what I am going to do, look, I'll come to the body to show you this, then come back up to symmetry because at the moment, I have my radio set to 12. I'm gonna set there two, 13 and make a few more strokes. Now, why would I do such an outlandish thing? Well, the reason is, I want to break up the symmetry. At the moment, I have 12 segments and 12 little sets of grooves, which I'm drawing. Well, I did have 12, and now I'm drawing with 13. If I have 12 segments and I keep on putting in grooves with my radius set 12, everything's gonna look identical. But if I take a series of grooves set 12 plus some groove set 13, and some grooves set to 11, for any one particular segment of my pumpkin, I'm going to get some grooves set 12, set to 11, set to 13. And so they're not going to match up perfectly with each other for any one particular segment of my pumpkin. So each segment is going to look slightly different. And the reason I'm turning it round now is hopefully you can see when you start to compare segments, let's take that down to what nine, shall we? After a while, we will find that each one individual segment of this pumpkin is gonna look different because look, I put this gouge here. That appears on that particular segment. If I take a look at the segment next to it, I haven't got that gouge. So things look different. And I think I'm happy enough with that. I think that looks pumpkiny enough. So let's just quickly come up to the top and back. Oh, it's set to 11, so we can use that. We can come back, set it to nine. I think that combined with the fact that if you take a look from the top at the outline of the cap, yeah, you can see that well, the bits I cut out, that was an irregular shape, which helps so the idea that this is a load of similar segments, but not exactly the same, because you don't get the same relentless symmetry in nature. Okay, one more. Let's come back up to try 15. A little bit of criss crossing going on as well. Alright, I think that should do for the fine texture of the pumpkin. And I think next up, we should paint this, which is something we haven't done before. So let's do that in the next video. 23. Pumpkin 09 - Painting Basics: Okay, let's introduce you to painting. Up until now, we have been working in Mt cap mode. And mat cap mode is good for modeling. You get a clear idea of the shapes. And also, it's a lot less effort for your iPad to work in mat cap mode than it is to work in the mode you need to paint with, which is lit. So that means you can sculpt faster. But to paint, we're going to need to be in it or PBR mode. So let's come there. Now, the first thing to say, we will be adding lights and we are going to be changing the overall look by changing this thing called the environment. In fact, come on. Let's do this first. We're in the shading panel, and I'm hovering over this picture which says environment. I'm going to click on that. And when I click, I come to a series of pictures like this. And look, if I choose another one, let's choose a very dramatic difference. I'm going to come down to this one on the left side, second one down, click on it, and oh look at that. The whole look at the picture changes if I come and choose a few others. Every time I do, the picture changes. So if I come back to that dramatic one, which we saw there, what you've got there is something called a high dynamic range image, and any three D program I can think of can use a high dynamic range image to simulate a very complicated lighting setup. And if I see in on that plus the model a little bit. Well, you can see on the model, certain areas are lit and some areas are in shadow. Now take a look at the picture. The lighter areas, those look like lights on a ceiling. They are shooting more light on my pumpkin and they're shooting it from above. Whereas, if you take a look at the floor, that is darker and it's kind of a browny color, and you can see that reflected in my pumpkin. Look, if I move it around, that one image is supplying me with all the lighting on this model at the moment. If I come back to it, look, I'll show you. I can come to the rotation. And if I move it around, can you see? Well, yeah, you can, I'm sure. Effectively, I'm taking that image that I'm seeing and within the nomad world, I'm rotating it around to get different effects. Look, with that bit there, by rotating it, the little rays of light which are shooting onto my model, I'm bouncing back at you, well they're rotating, as well. So I can change the look just by rotating this. I can also take the exposure and make the whole thing dimmer or I can make it brighter. So you're getting a lot of flexibility, and you can also import ones. There are plenty of websites where you can get plenty of these HDR maps to give you one, for example. If you go to polyhaven.com, forwardslash HDRIs, there are literally hundreds of these high dynamic range maps. If I come to import, now, do I have some on my system? I think I do. Environment maps. Tap on that. And let's just choose a couple of these. Let's come down to select. Come to open. And you can see I've got new items in this folder, and I have a whole load of HDRI maps. I've got these from the website I mentioned to you. I don't really want to supply them to you because I haven't checked, but there's probably something called a Creative Commons license to this, which, in short, means you can import these high dynamic range images, but please don't distribute them. So I'm just showing you the possibilities with this, and you can see how these different environment maps change the look and feel of that pumpkin hugely like this one, for example, gives a kind of a blue light. Maybe that might be good for Halloween outfit, but I don't want to use these imported ones because I just want to respect the original website and not share them without permission. So go there, take a look. In the meantime, which one shall I use from the ones which come with a program? That one, I think, is a bit too bright. Oh, that's not bad. That is quite interesting. I'm getting a sharply lip look to this, which I think looks a bit spooky. That looks interesting. It's got kind of a nighttime feel where you get quite a sharp light coming from one angle, which I can alter. I can also rotate as well, Wow. Look at the difference in lighting here. You know what? I'm going to go with that. The bottom one on the left. My exposure, I'll make it fairly bright so we can see quite clearly what we're doing. But I may play with this once I've done the painting and added a few lights. The next thing, I think I will turn off symmetry, take this down to one again. That's the cap. What about the body? Turn off symmetry, take the radio down. I want a slightly irregular service to this, but now it's time to come up to paint tool, and let's open up our settings for this. You've got a few different settings here. Well, could use symmetry again, I suppose. But no, what I'll do is I'll come to the first tab here. Let's take a look at my stroke. I'll pin this open so it doesn't keep opening and closing. Let's do the basics. I have a number of different panels here. If I come to stroke painting, which I'm just jiggling my mouse over at the moment, so you can see. If I was to come to my pumpkin and paint on it. Well, that's the basics. I can paint this. Can change the color. Now, did you notice that? If I start moving around, my entire object changes to the color that I'm trying to choose. The reason for that is that you need a preview of what your painting is going to look like when you start painting, but you can't really commit to it straight away, but you can't flood your object with paint every time you're choosing a new color. So it gives you a preview, like here, for example. But then when I let go, it snaps back to your existing colors, and then you can paint like, you can make your brush size smaller, and same as modeling, you can zoom in. And the same size brush will appear to be smaller on your object because you've zoomed in. You can take the intensity down so you can gradually build up strokes like this. I would just to finger tap a few times just to get rid of that so I can start again. Choose a color which is more pumpkiny. That is close to the color I want, maybe maybe about there, but maybe a little bit more intense or less intense. This is going to be a little bit cartoony, so I can play with a saturation of the colors. And here's a mistake that many people make when they're beginning. If you're going through a realistic looking object, take the saturation down. A computer can give you ridiculously saturated colors that you just won't see in nature. If you take a look at what I'm doing here at the moment, I've got my base color, my color of the rainbow up in the top right. If I move down, I'm getting a darker version of that color. If I move to the left, I'm getting a paler version of that color until I go to white. If I can move down to the left a little bit. I'm getting a similar color, but it's getting less and less saturated until eventually I go to gray. So with digital painting, you have three basic elements. You've got your base color, and that's added most saturated, but that base color can be darker or lighter, or it can be less saturated. And at the moment, I'm using square. I could come and use ring. This way, the colors of the rainbow are placed around the outside, and how light or dark or saturated they are on that square in the middle. If I come to the disc, it's just a different way of choosing the same colors. You get all your bright colors around the outside. As you go in towards the center, you're getting a less saturated version of it. And this thing at the top controls how dark to saturated the colors become. The one on the end, well, one way to specify colors in a way a computer can understand is using something called hex format or hexadecimal. I'm not going to go down that rabbit hole, okay? Sorry, I'm going to come back to the square because that is the one that most people are going to see, so I'll tend to use the defaults. Right, enough talk. Let's take that, make it a bit redder, a bit more orangy, and close my window. Now, I could start painting like this and in fact, come on. That's up the intensity and up the size. Or I can come down to this one where it says paint all. Click on that, I paints my entire object. So that is a bit of a timesaver. But the problem with this is, look, I'm sure that the more artistically gifted amongst you will be happily pointing out that pumpkins aren't that shiny. Well, that's okay. Within nomad sculpt, as well as specifying the color, we can specify how rough the surface is of your object. And if I come to my roughnes slider, start moving it around, can you see that? I can increase the roughness to one, in which case, there is no shininess to that whatsoever. But if I start to decrease it like this, I decrease and decrease and decrease, I get a very shiny object. Now, while I'm here, what about metalness? That affects the way the light falls on your object. So, look, I'm getting a golden pumpkin, which is quite intriguing. But not for now. Come on. I'm getting distracted. Let's take that down. I'm going to take that down to nothing, and I'm going to increase the roughness until I get what I think the surface of a pumpkin might look like. And I think maybe around there. That is looking a lot like the surface of a pumpkin. I take my pen off my slider so the preview stops, but if I come to paint all again, I quite like that. So yeah, that'll do for the base. Now I will come and I will touch my cap. I've still got the same colors there. So if I come to paint all, now the cap looks more like I want. Just while I'm here, what about the stork? Well, it can't be that color. It has to be a greenish color. I will come to where the colour bar is, open that up. I let's move that around, get a preview. I think a yellowy kind of green is going to work better than a more acidic, bluy kind of green. So I'll move that about there. But that is too bright, clearly. Maybe around here somewhere. These are going to be starting colors. I am going to be painting over the top of these to provide a little bit more interest. Close that. What about the roughness? I think I'd like that to be a little bit more shiny, just a little bit. Just to break things up a little bit and come to paint all there. Okay, I will stop this video now, and then the next video, we'll carry on painting this pumpkin. We'll still be doing broad strokes, but I want the inside of that pumpkin to be different to the outside. I'll show you how I'll do that in the next video. 24. Pumpkin 10 - Face Groups: So I've got my basic colors down. But the thing is the inside of a pumpkin is not the same as the outside of a pumpkin. It's a lighter color. So we're gonna have to paint the inside a different color. Well, okay. My paint tool is selected. Let's come up to our stroke painting panel, and I'll do what I did before. And when I come to my eyedropper, come over and select her. Now, I think I need something which is a bit more yellow and quite a bit lighter and not saturate it. What, it's more of a creamy color, isn't it? Is it something close to about there? Let me just have another quick play with this. I'll go for a definitely different color so that we can clearly see what's going on. Alright, well, I've got that. Now, what about the roughness? I think, no, not shiny. I think a similar level of roughness. Now, what I have done in the past has come to paint or well I don't want to do that. What I need to do is come inside and start painting here on the inside. And that's a terrible way to work. Why is this a terrible way to work? Well, I can't see what I'm doing. So two finger tap to do that. Instead, well, let's come up to our scene menu, and we can turn off the stork and we can turn off the cap, and oh, look at that. Now I can come inside and start painting there. Okay, well, that's all well and good. But, let's take a look at this. If I come to this bit here and I start painting here, am I really gonna have to come up really close and personal and spend a whole lot of time painting around here, and, oh, I've gone over there, I'm making mistakes. To finger tap to undo that a few times. Come, let's take us back to just this point. But I hit the top. Do you see my problem? The D painting, in general, I would argue is a little bit more complicated than two D painting. You're trying to paint something which looks good. And on the one hand, you don't have to worry about painting shadows and highlights because the lights are already there in a three D program. They're going to take care of the highlights and the shadows. But you're painting a three D object, and one thing you are going to do is spend a lot of time, for example, painting the face, and then you forget about the back of the pumpkin. And also, I've got these sharp areas we were talking about. But you've seen in the past, we've used the mask tool to mask out certain areas. But oh, I only there was a way that we could do it where those different services were already separate and ready to be masked out. And I hope you can tell from my sarcasm that actually, yes, there is a way. Let's come down to an icon we haven't used before. Face Group. Click on it. Look at this. These are all different groups of polygons, where the faces are different colors, so face groups. And they happened when we did those boolean operations. You remember when we started subtracting bits out of our pumpkin, and because they're separate, we can use those to mask out different areas. Let me show you this. If I come to the top where it says main and tap to open it, you can see various colors here. And I can almost guarantee you that some of these colors here are not used here. So what I'm going to do is I'm going to come to remove unused, I would imagine quite a few of these colors are going to go. Yes. But what I'm left with are things like main or bottom all. Let's try this bright orange one. You can see that's where the eyes are. And now what I can do is come over to my mask tool. And you can see everything gets a little bit more pastly a little bit more washed out. But I can come to here where it says on tap. So I'll do that. I'll come down to the eye area, and I'll tap that. It got darker, which means it's selected. I will come down to this bit. That has been selected, I will come up too. This bit, those have all been selected. Now, can you remember what we are supposed to do next? Those have been selected to those have been masked. We do not want them to be masked. We want everything else to be masked. So we come to invert. Now when I come to my paintbrush, I can come to paint tool. Now, you can't really see any difference there, but if I come to say my clay tool, look at that. Those areas with just a touch of a button are now painted. And in case you're looking at that thinking, ah, ah, but Simon, the pumpkins turn brown. That is because it's just the mask tool's way of letting you know that those have been selected. But now we've come back to our mask tool. We can come to invert, then come to our paint tool. And because I have those edges masked, I can come to my paint tool, and rather than paint all, I can come back in and start painting like this. And because the areas surrounding of being masked, my job suddenly got a whole lot easier. In fact, I'll make my brush bigger, come down here. I suppose I could have turned on symmetry to speed things up, but well, this is fast enough, isn't it? I think I am gonna get a problem, though, because if I come here and I go over, yeah, that's gonna be a problem. So two finger tap to undo that. You see the thing is, look, I will come to mask and I will clear everything. Then I will come back to my face group. And actually, no, I didn't need to do that. Let's come to mask again. Nothing is selected. I've got here on tap. I want to choose that inside area, don't I? So if I come here and I tap, ODI, there's my problem. For some reason, the inside of the pumpkin and the outside of the pumpkin are both the same face group. Well, we don't want that. So now we come back to our face groups. And you can see this icon here on the left hand side, because remember, all the different ways we can use the tools are either in the top right menu or the quicker stuff, the stuff we need when we're modeling and we don't want to spend too much time. They are all stored on the left hand side, and I have here called Dot. There's my dot. That's the area I'm going to brush. So what I need to do is I need to come up to here where it says plus. If I start to paint, oh, that's not working, is it? To fingertip to undo that. I need to come. My mask, I need to invert. So I mask out these areas, so I'm no danger of me creating new face groups in the areas that I've already painted. Then come back to face group. That's coming. Let's make this radius a little bit smaller because there are going to be certain areas which are going to be a little bit fiddly. And can you see what's happening? Every time I lift up my pen and put it back down again, I'm creating a new face group, and you can tell that because they're different colors. What's happening is I still have this little plus sign that's still turned on. So I'll turn it off. It's now inactive. And now when I paint, I'm getting that same red color. This is the same face group that I had before. Now, this is a bit of a difficult object, too, to be honest, because if you notice with this, look, I'll turn on the wire frame for a second. Come down, turn it on. If I come down to this area here and I just tap once there, this is not like the paint tool. With a paint tool, you get a little kind of faded area between this point I just chose and say this point here. North face groups, it's all or nothing. You don't get these subtle fades that you get. When you paint. Your face group. All polygons belong to one face group or another. With nothing in between. There's no soft or blonded areas. Now, I wonder with this. I'm going to come to size my object to fit in the screen icon. I'm going to just turn around and see what's happening on the other side. Oh. Now, see. Now, look at that. It's painting some of these back vertices. I do not need that, so for that, maybe I need to come back here, come to Maine, that light blue colour and paint those back in. Now, when I come round, Yeah, you see that? I've painted both sides. Not good. So let's come to front vertex, and I will choose that one, wasn't it? Patch. I will choose that and I will paint that came round. And yeah, because I've turned on front, it means I only paints the vertices or the polygons, which are directly facing me. And not that I'm paranoid. Dear me, no. Just double check. Okay, yeah, that's good. That's working. So what I'm gonna do now is come right the way around. I'm gonna paint the inside of this pumpkin. Just to recap, the reason I'm doing this is because once this is painted, I will be able to mask off this area really, really quickly and easily. In fact, that's what face groups really are. Let's just quickly describe them, okay? Most three D programs have face groups, and all they really are are collections of polygons that are grouped together, and that makes life easier when you want to come and select things or you want to edit things. They don't change the actual geometry. They just kind of act like labels or zones that are going to be useful to you as we're seeing now. Basically, they make your life easier. What I'll do on the outside, I've decided that's the border I want. Especially when you're doing the fiddle stuff as well. Don't forget the golden rule when you're painting in a computer program, make a series of short strokes taken off, and then I'll come back again, taken off, come back on again, as opposed to doing lots of stuff here thinking, Yeah, I'm having a great time. I'm doing really, really well. One long, nice, smooth brush stroke and there's always a risk that you make one little mistake, and then you have to undo, and you end up going right back to where you started. Luckily, with this, that green area has been masked out. So that is making my life easier. Just triple check as well, 'cause I am Always cautious, put it that way when it comes to three D programs. And just double check. I'm not painting on the outside as well, which I'm not because we have the front vertex turned on. Oh, I wonder what kind of a time I'm gonna have here. Good that area, the eye area that is also massed down. A little bit hard to see, but I'm sure we're gonna do fine. Oh, yeah, see there. Did I Oh, no, that's okay. That's okay. You know what? Now you're just about to start watching me work, so I will fade out and fade back in again once I've painted the inside, and if anything crops up, I'll let you know. And here we are. Those are all painted. If I come back to mask and I have on tap selected, so tap on there, Invert. Come back to my paintbrush. And you can see where I started to paint it. But now, in theory, everything is masked. If I come to paint all, there you go. Back to touch of a button stuff. If I can back to the mask and clear all come back to my paint tool. Let's turn off wire frame. Okay, so that's the body, and I've made the cap visible again, but when I did, I realized I painted the inside of the cap, but I didn't change it to the color I want because I thought, Well, you're never gonna see it, but one thing I haven't done is done those bits around the outside of the cap, where I cut into the flesh of the pumpkin. So let's sort that out. Choose the body, make it invisible so I can clearly see what I'm doing. If I tap on it and I come to face group, you can see the inside of the cap is a different face group to the outside of the cap because I did it when I faded out. I just didn't paint it, so let's come to mask. Let's come to well, let's check clear all first. That's grade out, so nothing is selected. That's what I want. Ontap is selected, so I will come to the flesh where it's been cut and also the inside of the cap, then come to invert, then come to a paint. And come down in the stroke painting to paint all. That is painted. Click away, so I get my icons in that four column arrangement, which you know I like. Come to mass. Clear all. Come back, paint. That is all cut. Come back to our scene menu, and let's make the body visible. So now by using phase groups, I have the ability to select various different parts of my pumpkin quickly and easily. That can only be a good thing. 25. Pumpkin 11 - A Remesh Problem: One of the things I try to do on my courses is to show you what to do when things go wrong, because I watch training videos like this all the time. I like learning new things and a lot of videos. They'll show you how to do something, but so many ways of doing things on so many different packages have things that can go wrong. And so I'm trying to include just a few of those into these projects. And in the case of this, I want to start painting some detail onto this. And the first thing I'm going to do is come to my paint tool, I want to tap on it, and I'm going to reset. Confirm reset, yes. The reason being is you make various different changes to your tools. I'll go off and do other things. I might make more changes. Then if I come back and record a video, I might forget the changes that I've made, and I might be telling you how to do something and you have a different set of settings. That's not going to work. So, could I ask you to do the same? Just come to your paint tool, click once and come to reset. Confirm reset, yes. So we're both starting from the same point. The next thing, I can see a problem with this because, look, I'll show you. If I come to my paint brush settings, and what color have I chosen? Well, let's make sure we're doing the same thing. I will come to my eye drop at all. I will pick the color that I have, and I'm going to change this to a darker color. I want to put a few bits of dirt on here or just a little bit of a texture. So maybe there maybe make it a little bit redder just to mix things up a bit. Alright, so now I can come and I can start painting. And that's all well and good, but I want a bit of texture there. Do you remember when we did the Goblins head, and we textured it? We used a technique there where instead of having a dot for our stroke, we came to the stroke panel for the paint tool, and we chose lock and radius. And instead, now we could drag out something like this. And you know what? I love the intensity. 300. So when I do this, you can definitely see what I'm doing. But of course, that's all very well and good. I'm just putting down a square block. So we'll do what we did. When we textured the goblin, we come to Alpha. At the moment it's set to square, I'm going to tap on that, and I'm going to come down, and which one shall I do? Let's try skin 03 Large. It's coming set to invert, which is going to give me a series of little dots. Let's take a look at that. And, yeah, that's the kind of effect I'm looking for. And you can see it works okay here, but if I come around the back, I'm getting a much different effect, a much worse effect what's happening there if I come down to my wire frame. For some reason, I've got not very many polygons around the back of my pumpkin, but if you compare that with the front of my pumpkin, I've got a very fine mesh there. And a very loose mesh here. If I just quickly come back to my paint tool, I will reset it again just to show you this firm reset. So now I'm back to painting on my surface. I'm going to make ebrush size very, very small, and I will come here and I will just paint. Can you see what's happening? I made a reference to this when we were talking about face groups. You're doing something here called poly painting or you're painting the polygons. And whenever you come over, a little dot where the lines meet on your polygons. That's where you're putting down your new color. And you can see you get a fade in between the dot you put down and the surrounding dots. It's not like face groups where if I was to put down a dot there, then all of the polygons which joined that would all be the exact same color. It works slightly differently. But that's the way it works. It takes a series of polygons and you paint on them. If I turn this round, to here, and I do the same thing pretty much on the same scale. Because I have a lot more polygons in that particular area, I'm getting a very different effect. I'm getting a lot finer detail. And we saw that a couple of minutes ago when we added our paint and we changed the stroke to lock and radius, which really is one of the best ways to do your painting to get a natural effect there. We go, There's our effect there. Take it, turn it around. And because there's a lot that's polygon to there, you get that kind of effect. I'm fairly certain that at some point, with nomad, if you start practicing with it regularly, you'll get a similar problem. And if you do, at least now, you know why. So what I'm going to have to do with this is repologize it. Let's come to our ret topology panel, you've got multi resolution. We've got vaxlRmsh. I'll make sure, select the cap, then I'll come back and select the main object so I know I've got the right object. Selected. Come back to my pumpkin to layer. VauxlRmshing. I want this high. I'm gonna be doing painting, and when you're doing your painting and you're doing your fine detail, you need a dense mesh. And at the moment, it's 350,000 polygons. That is nothing. I can afford to take this height. So resolution, let's take this up. I'm going to take this to a round about. Oh, let's try. Let's somewhere around the 700 mark. When you're doing your fine detail and your fine painting, you set it to above 500 somewhere. How am I going to do with that? Remash? Let's take a look at this. And yeah, that works for me. Wow, that really is a fine map. I think I may have got a problem, though. I I turn of wire frame, take a look at the rear, at the inside, at the back. You can see I'm getting faceted areas. And also, if I come to hit and resize, Turn off my stop and cap, so they're invisible. And then if I come here, oh, can you see that? It looks like it starts to paint on both sides, some of that dark area came through. So I've got two problems here. Well, that solves the last one first, which is pretty easy. We have our paintbrush tool selected, and you come to the first icon along, which has various different settings, if I come across to filter, front facing vertex, only let's turn that on to prevent some nasty little accidents later on. I'm also going to start doing a few times. I'm doing the vax remash. I'll start doing some of these paint marks as well. Especially on that side. Keep tapping backwards. And we had that problem, if you remember, where the inside of the pumpkin looked faceted after we did our vaxaRmash. The reason for that well, you can see the inside of the mesh has fewer polygons. And the thing about vuxlRmsh it's not that good at smoothing out the angles when it comes in and goes over the surface of your mesh and gives you a much finer mesh. Thank you very much. One thing it's not so good at is smoothing over areas like the inside of our pumpkin where you've got bigger polygons, so slightly bigger angles, it won't smooth those out. So one thing you can do, especially now what I've got, 350,000 polygons for my pumpkin. That's not many at all. One thing I can do is come, and before I do my vaxaRms come to multi ras, subdivide. I now have 1.67 million polygons, and that's okay. I'm pretty certain most systems can handle that amount of polygons. But when you do a subdivide, it's much better at smoothing out those polygons at the back. It won't be perfect, but it should be better than what we had before. Let's put that to the test. Let's come to. Voxel remash I've got the same number as I had before, just over 700. And that means that I should end up with the same amount of polygons after I've remshed with a subdivided object as I did before. You're going to get the same effect with voxel remshing but with hopefully a bit more smoothing. Let's come and turn off wireframe to test that and remash. Multi resolution will be lost. I don't care. Looking there, I can still see a little bit of facets at the back, but it's much better than it was before. What about our wireframe? How dense is that? Oh, I can definitely do a whole load of painting there, but better than that, it's much more evenly spaced, so I'm going to get consistent effect with my paintbrush when I come to paint that. The only thing now is the bottom of my pumpkin is quite a bit different resolution to the top. I could do the two of them being similar. So come to the top. Come to vax or reimage. 1,428. No, I don't think so. Let's bring that down. Should bring it down to similar size, 'cause you have a similar amount doesn't necessarily mean you're going to get the exact same density, but it was just over 700, as I remember. Come to remash and that looks like a very similar dentity. How many scene vertices do I have now? That's just under 4 million. That should work just fine. I need that kind of resolution anyway, if I want to do some really fine detail. And if you think that's a lot. Well, I've seen on some desktop programs like Zbrush or blender, you can have models there which are in the tens of millions of polygons. And yes, sometimes it really does slow the system down depending on how powerful the system is. So what we've got here, 4 million polygons. Hopefully our system can handle this. If not, maybe Vox will remesh down to a lower resolution. Alright. I'll stop now in the next lesson. I'll start painting in that finer detail. 26. Pumpkin 12 - Painting Detail: Let's start painting. I'll tap on my pumpkin, because I want to show one more thing. Come to paint, reset it. Yes, I want to reset it. There's my stroke set to dot again. That's fine. And my color. Yeah, I've got that slightly darker color, have I? Yes, I have. There's one more thing I want to do. You can paint here. I can't paint on my cap. In order to do that, I'd have to select it and paint on it. And also, I could do with masking out the lighter area so I can paint without worrying about going into them. That's a good point. I re vox unmatched. Do I still have the face groups? Yes, I still have the face groups. Happy days. So what I'm going to do is come up to my scene menu. I'm going to choose I've got my pumpkin, too. That's my body. I've got my cap. I will choose that as well, so they're both selected. And I'm going to come to where it says, Join. Those are not strictly speaking the same object, but they will be treated as one object in a number of different ways. And the way I'm looking for is if I paint here and then I come up here, I can paint here, and I can also paint a cross. This is good because I'm putting down fine detail. And I guarantee you I'll put down a load of detail on the body, and I'll forget to put it on the cap. So I finish my body, I think, Oh, great. Look at me, aren't I brilliant? And then I realize I haven't done the same thing to the cap. Oh, dear. This way, I can do both. I am going to come to my mask tool. I've got on tap selected, so I will tap on my top, and it's selected, both of them. I will come to invert. I will come to my paint tool, and now when I brush, how useful is that Toving a tap 12. Now, the first thing, don't forget you can ride the intensity. If I take the intensity right the way down to 13. I'm building up things very gradually. If I press light and then I press hard, that can make some difference, as well. But don't go thinking it's always got to be on intensity really high like that. That is useful where you're drawing something definite, like, for example, supposing somebody come along and drawn something on my pumpkin. That's useful. But for drawing general textures, that's not so much for texturing an object. Usually, you'll find the best way to do it is to come to your settings, come to stroke, and then you set it to lock and radius and drag out like this. Then you come back, you come to Alpha, you tap on Alpha. If you remember I gave you various textures, I will choose skin 01 a deep. Now, what does that look like when I drag it out? Yeah, I quite like that. That's given me a nice overall dirt texture, and I think I'll probably drop the intensity down a little bit because I found it a bit too strong. I'll do that again and maybe make it just a little bit more intense. You can see me dragging in and out at the moment, at least, I hope you can. That is subtle, but great to start off subtle. And that's going to take some time, even though oh, look, I can go over into the top, as well, because two objects have joined. How nice is that? I'll look the intensity a little bit, because I want to come back to my settings, projection, triplanar. I'll come to that. I've come to preview. That's what I'm going to be doing. Look, if I paint again, I can make it really, really big. I do that. I will undo that a couple of times because I just want to show you what's actually happening with this. I'll come back to surface, and I've got lock and radius, select it. I'll up the intensity so you can see more clearly what I'm doing. In fact, I will come and choose something which is a bit more bitty so you can see the dots a little bit more clearly. Come to Alpha. This one on the end, skin oh three a large. I will invert so I have a series of small dots. I drag out like that. That is great. Now, let's come to the side and drag out there. Come round. That is working okay, but sometimes what can happen is that you get a little bit of stretching. If you see now, there I'm painting straight on. If I come here, I'm painting more towards the side. That is working okay. But if I was to come something like screen, that's fine. That looks fine, but the first brush stroke, I made my brush stroke, and the model is facing me almost directly. My second brushstroke, I banged after the side, where that pumpkin is curving away from me. And it looks fine now. But if I turn around, oh, look at that. I get this smearing. To finger tap, two finger tap, so be aware of that. That was surface. If I come to triplanar, and I paint. So what's happening here? You can see the light surface where when I drag out, it gets bigger or smaller with triplanar, it stays the same size. I'll do that. And if I turn on preview, that gives me an idea of what I'm painting. Let's come to scale. Go down and come to scale. Can you see as I do that? I'm getting a much more finer detail? I'm looking for the kind of detail that I want to say about there. That's giving me the kind of speckle detail that I want. So what I'll do is I'll come back up. I'll turn off preview. Now if I come here, when I paint, The good thing about this is I can paint my entire object really quickly, really easily. I'm keeping a constant scale. Oh. A few stray marks there. And it gets painted really, really quickly. So why is it called triplana? Well, when I first heard that phrase, I thought, Oh, no, another technical term, which I don't know what it means, but actually, it's really easy. It's a three D program. You have three different planes. You have looking down from the top, you have looking from the front. You have looking from the side, three different planes. And try well, from the Greek Tris, which means three. That's the way it works. Now, I've given quite a bit of detail there, and you're probably gonna hate me for this. I'm gonna come and I'm going to undo that a little bit, Whoops, no. Redo three finger tap. I went a bit too far because I've been looking at this, and I'm still seeing that last Vauxhall remsh left one or two little planes there, which I'm not too happy about. I wonder this might not work. I'll come to my operations menu, and I'll come down to smooth. I can do a global smooth on this. And once I do, is that gonna work? No, I don't like that. By the time I've smoothed out, those bits I think need smoothing out. I've created all kinds of problems on the edge. I do not want that. So let's come to our smooth tool. Brush pretty large and intensity pro about 30. Just come here and just smooth out one or two of these various different problem areas. Because if I don't, there will be people looking at this, thinking, Oh, it's a little fasted. Add up the intensity for this bit around the back. If you remember, when I box already meshed, I had fewer polygons around the back, and so I'm getting a little bit more of a problem. But I'm just going to come round. Smooth this out. Maybe I'll come back in and add some more finer detail later on, just using the radio symmetry like we did in the previous lesson and just add a little bit more detail just for the few minutes it's going to take. But for now, we are talking about painting. We're not talking about that, and if I have the intend to do a little bit more. Alright, come back to my paint brush. Let's take a look. I have the Alpha there. I'm set to triplanar my color is still the same. And just for the sake of curiosity, look, paint all on triplanar. Ha. Because, do you remember when we were texturing the goblin head? It's just done that. But should we say a little bit more intense than we would have liked? Tell you what we'll do. Let's come, and we'll take the intensity way down to a what, 9%? Let's try that again. And that is one way to quickly add a whole lot of detail, really, really quickly. In fact, come on, let's take this weight, the way down to what? 3%, paint all and triplanar. I think with a different alpha map, something a little bit intense. In fact, you know what? I wasn't planning on doing this, but let's try it. Let's come to undo. Come back, come to our Alpha. Let's swap this out. For a less intense one like this, skin 01 a deep. Come back. We are on 3% still, paint all in triplanar. Would you look at that instant texture. Now, that is a bit too strong for me. So I will undo that, I will also invert, if I zoom in on this. Look, that's predominantly light colored, so I'm going to put down a lot of what I'm about to put down. If I swap it, it's predominantly darker, so the effect is going to be less pronounced. What were we on 3%? Let's try that on 2%. Paint all and triplanar. Look at that. I'm getting lots of variation, but I'm also getting a really nice texture. I will do that because I think even that is too much. I'm gonna take this right down to 1%, no more than that. What's going to happen with this paint all and triplanar. And I will look at that instant texture. And because I joined the cap and the body together, I'm getting it on both things at once. And yeah, I do like that. Okay, I'm done congratulating myself. Let's come back. Let's swap this out for something a little bit more bitty like skin 03 large. I'm also going to change my stroke. Okay, locking radius, that's fine. But I'm going to come back to surface, and I'll change the color. I've actually a few blobs on this, a few lighter Let's try something there. I'll have to up the intensity. Let's take it right the way up so I can see very clearly what I'm doing. But if I come here, even that needs a bit more. That's kind of intensity I was looking at, but it's too bitty. I want it to be general stains. It's also too intense. So, come back. If that doesn't work, come back. Let's try another one. Let's try skin 03, ADB. Let's take a look at that. No, that ain't working. Come back. Let's invert it. That's more the effect I want, but I'm going to lower the intensity down. I'm on what 68 now? No, bit more than that. 'Cause remember, you can go above 100%, which is where I was. I'll take it to 100%, and yeah, that's giving me the kind of localized changes that I want. And don't forget to do the top, as well. But what I'm doing here is dragging out big shapes. Maybe I can do this with a mouse so you can see this. I'll come and drag out a big shape. You can see that little red dot is where I'm dragging from, and I'm dragging out a big shape there if I move around. I'm drag out a big shape there. But I'm going to drag out a smaller shape here, so I get large blobby areas, like a bit on the bottom, but I'm also getting smaller localized areas if I do small drags. Now, let's come here and I want to change. My color, I want something just pretty mucky, pretty dirty. Maybe there. And I think that's a bit too shiny. I want this to be rougher because I want this to be, if you like, a little bit muddy. Now, let's take a look at this. Too strong, lower that down. Somewhere around there, and I'll do big strokes. Don't forget the top, as well. I'm just trying to suggest that this pumpkin actually grew up in some dirt. And because I've changed the roughness of this, so I'm getting some slightly rougher patches, I'll up the intensity a little bit, because I'm getting some patches which aren't as shiny as the pumpkin. When this gets lit, well, you'll see certain areas will be shinier than others. That is a good way to sell the idea of realism because unless you've got, say, a perfectly polished metal spoon, that's going to be evenly shiny. But then you leave it lying around, and gradually the shine will go off, but in different areas. Okay, one more thing because I just want to break it up a little bit more. I will come back to skin 18 deep. I will come I want something. Let's make it redder. Like this. And again, I will take the roughness up. Now, what's this gonna give me? Yeah, quite like that. Again, I'm just adding extra bits of texture in certain areas, maybe a little bit around the cap where a bit of dirt will have accumulated and just drag out big areas and smaller areas just so I'm breaking up. The surface so it looks like a realistic surface with one or two slightly dirty patches. And you'll notice, well, I could have had symmetry turned on, but I decided I didn't want that. And of course, even if it's just a pumpkin, people will look at the eyes. People always look at eyes much more than they look at anything else. And so if I'm going to do any fiery detail or I'm going to take my time, then around the eyes would be the area where I do it. So now I've got a bit of dirt around one eye area, but less so on the other side, maybe just a little bit down here, just where the mouth is, just to break it up. Alright. Now, just very quickly, let's come back to our mask. I will invert it. So now, come back to my paint brush, and now every bit of my pumpkin, which isn't the outside skin is available to paint. Just before I do, come to mask on top is chosen. Even though it's not joined to the main body of the pumpkin, let's make sure that stem is also masked. So now, come here. Let's choose let's choose something a bit bitty. It is a bit of a pain. I must admit to have to go do your settings here and then to do your color, come to here. But who knows? Maybe if I was to organize this, maybe I'd do a brilliant job. Who knows? Let's do that. I'm starting to drag out here. You know what? Let's come to triplanar. Just drag out fast as I like. I wonder if you can see this. I'm making some subtle changes here. I'm just adding a little bit of light. In fact, that's probably too subtle for you to see. Let's I'd rather select the color of the inside, and let's just drop this down, maybe make it a little bit more intense just to break things up. And now, yeah, you can see, I'm doing this really quickly. And I can paint lightning speed. Which is great because some things take so long with three D that if you've got anything that let you paint at lightning speed, great. And all come. Oh. No, don't like that. I want that four columns, not five. That way, I understand where I am when I come to select tools. Alright, let's try Let's try a straight white. And when I drop the intensity right the way. What, 3%, come back, paint all and try playing it. What's this gonna do? No. Too much come to, come on, let's take it to 1% again like we did with the outside, paint all on triplanar. I like that because it's breaking things up, but it's just too white. So as before, I drop it all, select that. I'm going to make it slightly darker. There comes my Alpha. I'm going to invert it. Then postrok painting, paint on triplanar. What's this gonna do? I kind of prefer that. I'm not bothered that much about the insides because you won't see much of them, but what I will do is come invert the pixels. Come here, make this a lighter color but not completely light, invert it and paint on triplanar. You know what? I think that will do for me. So, come to my mask Pall. Now when I come back to my paint, that is now painted. I've got a little job for you, a little challenge before we go into the next video. We still have the stem to paint. Just paint the stem. Just use the techniques that we've used. And just give it a little paint job. Just before I go, let's come back to our scene menu. Now, if you remember, with this our main body, when I joined it, it all got renamed cap. I am now going to come to separate. And so I've got my bottom part. On my top part. Now, maybe I should rename those as well. The reason I'm doing that is so that I've finished painting, and it's made my life so much easier because the objects were joined together, so I could drag out my paint blobs, and they would perfect both the cap and the body. But I might want to come back in and reparent the stalk to the cap and then move the cap around. I'd have a bit of a job trying to do that if those objects were still joined. But that is painting basics. Have a go at the stalk, and I'll see you in the next lesson. 27. Pumpkin 13 - Layers: Okay, how did you get on with the store? In my case, all I did was I painted the top of it a slightly lighter color than the base of it. You may have found if I turn on the wireframe, you were getting one or two stretched areas like we had when we had to vox or remash the pumpkin, and you might have got it in this area here where you can see things are stretched. And if I turn off the wireframe, yeah, things got a bit stretched in that area. If you did, you might have decided to ox or remesh. For my part, I decided that really I will put detail in areas where people tend to be looking more, and I'm not sure they'll be looking there that much. So I decided just to work with the mesh that I've got. Oh, incidentally, by accident, I've pressed the measure tool. Can you see here? Well, that's okay. All you do is you can use that to measure distances just by dragging out various things. Like the distance from the bottom to the top of that stem is 0.472. Isn't that fascinating? Anyway. I'm going to show you the power of layers, which we've not looked at. Before I do, though, if you take a look, I renamed the body to body, the capped cap and the storked stool. I'm going to take the body, drag it up to the top of my scene. I'm going to get the cap. I'm going to make that a child of the body, and I'm going to make the stork a child of the cap. These things here, I don't need them anymore, so I will delete them. So I'll try and make things a little bit simple. So with the body, that is the parent object. If I come to my gizmo, I can move things around all I want do that. If I come back and I choose just the cap, I can make alterations. To this, and both things move. If I come back and come to the store, I can make alterations to that. It depends where I am. That said, let's come to the body and make sure just the body is selected. Then I'm going to come to the layers panel. Layers body. That means the body is selected, and I've got something here called a base layer. I'm going to add another layer. Then I'm going to come to my Mutals fairly big. Fairly intense. And I am going to pull my body around like this. Alright, I'm going to come back to my layers. It's called layer. I have this green bar. This is a slider, and it is set to 100%. Watch what happens when I slide it pack. Oh, look at that. I now have my original object, my deformed object, and anything in between. While I'm here, come on, I can do a little bit more with it. Let's make the radus a bit smaller. And Now, let's take a look at it. Okay. Now I will come back and I'll choose my cap, not my cap and my stock, just my cap. I now have layers cap in the top right. I will add another layer hip. I will make my brush a different size. And I can move this around. I can come to my gizmo. I can move it. I can angle it. Come back to my layers. Okay, what have you got from that? I can deform my mesh, but I didn't record the rotations. So let's take that back to where we were. Come back to my layers there. Alright, let's come to A DEM. I can come. I can add my layer. Let's come back to my move to. Let's make it nice and big, and I can move this around all I want. I'm deforming the mesh. And let's take a look at this. So now, I've got my stork and anything in between. I have my cat. I've distorted anything in between, fat, you know what? I want a little bit more there. I was a bit timid, wasn't I? So that Let's give a fringe there. So I've got that with everything in between, and I have my body with everything in between. Okay, so supposing I want to rename this, let's come to Layu. Let's call this body deform 01. So, yes, you can rename them, turn it on or off. This is your layer blemo. This is going to come in when you start to paint things. Now, you can also delete it, duplicate it, merge down, three fingers taps. They're channel factors. This is really going down the rabbit hole. I don't want to go into all of this. But I added one layer. I can add another layer. And let's call this paint too. Let's come to our paint. Okay, I'll go with that just for the sake of showing you what's happened here. What about my color? Well, let's tap. Let's choose let's choose the color which is quite different to what was there before. Still the kind of thing you might see yellow pumpkin, but just so you know what this looks like. Now, what's happening with my stroke, lock and radius, up the intensity, up the intensity, some more. Let's put a patch of green around here. Actually, I quite like that. That's looking a little bit like mold. I'll lower the intensity though, it's going on very thick and fast in some areas, so I'll make repeated brush strokes. So I'm getting a little patch of mold there. You have the intensity, a little bit more and come here. And yeah, I quite like what that is doing. But is it a little bit too intense? Well, let's come here. And I can slide it down and I can slide in or out as much as I want. Not only that. Do you remember me saying, Oh, this is all to do with layer blend motes. At the moment, it's set to normal. If I come to multiply, everything gets darker. If I come to color burn, everything gets darker but in a different way. If I come to lighten or screen linear Dodge, it's affecting the look of that, but in different ways. Now, getting into layer blend modes, again, is going down the rabbit hole, but for two D painting and three D painting in the digital realm, layer blend modes are very useful. So rather than going off on a tangent and explaining them here, I have a YouTube channel. It is called drippy Cat. So if you look up drippy Cat YouTube, you'll get there. And I think it was for Affinity Photo. There's a playlist there where I go over layer blend mode, what they are and why they give you the look that we're getting now. So go there if you want to check that out. But can you see the possibilities here? All I did was put down an area of color, and I can have it as I did it, or I can have it darken. I can also alter the opacity of it so I can get some very subtle effects. Now, supposing I cloned this pumpkin several different times, but I wanted each one to look slightly different. All I would need to do would be to come to these various different layers like this. I had come to body to form. I could alter it like this. And can you see when I do that, let's show you this again. Let's come to paint two layer. I'll make it so it's very intense. Then come to my body deform layer. And as I deform it, that paint is following the layer underneath it. So the paint is going to stretch with the object. How useful is that now? The paint is a bit too intense for me there. Let's come to my little el. Let's turn it off and on. You can see it's subtle, but it is there, and it's making a difference. And various different subtleties that you're putting are all working together to create a more realistic effect. So that's layers. Let me tell you from now, if you start to use them, the biggest mistake you're going to make is, look, I am on the body to form layer. And so I think, great, I'll do some more painting, and I accidentally paint on the body to form layer. When what I really wanted to do was paint on my paint layer. I can almost promise you that is going to happen. So try and get back into the habit. Coming to base. Select my cap, come to base, come to my stem, select base. And then when I save, I come back to it, I'm much less late to make that mistake that I just told you about. Okay, in the next lesson, let's talk about how we light our pumpkin. I'll see you there. 28. Pumpkin 15 - Post Process, part 1 : Alright, we've got a scene. Now at Ananths there is an icon, which we haven't looked at yet, and that is post processing. And this is going to dramatically alter the look of what we have. Before we do that, let's come to the one next to it, the background. At the moment, we have the sect of gradients. Now, I was thinking, well, let's model maybe a doorstep and a brick wall and make a complete scene, but that's going to be more of the same, and there's other things I want to talk about on this course. So we'll settle for the gradient. Well, actually know, you could import an image from photos and have that in the background. Well, okay, you can do that, but what I'm going to do is, I'm not going to bother with color. That's a straight gray color. Not bother with that. We'll use what we had before the gradient. But for this, we will make the top kind of deep blue to go along with this whole moonlight theme. And for the bottom, well, that's just a straight black, isn't it? Well, it's almost straight black. Let's make that blue just to be on the south side. And you can see when I do that, the actual color that I'm choosing, it's just variations of black, basically. But you can see it does affect the gradients. Like, for example, you think say something like that is just the color by itself. If you look inside that tiny little circle, or you look here, everyone would say that's black, but if I alter the hue of it, so I get more of a reddish black, that is altering the gradient as a whole. This runs right the way through all two D and three D programs when you're choosing gradients. You choose one color, you think, Well, okay, it's black or it's white. But when you combine it with another color to make gradient, it does alter the look of the gradient. It's subtle, but it does make a difference. I will go with about there. Doesn't have to be exact. Try not to worry about it. Now, let's come over to the panel we were talking about the post processing panel. And the first thing to say is that those little icons of a camera and a light are annoying me. So for the camera one, come to the camera tab. See where it says, icons, turn that off. Come to the lighting panel where it says icons, turn that off. Okay, back to post processing. I'll move this just off to the side for a little bit so that you can see the whole panel. Come on, let's take this down to the side, as well. So we can see this nice and big. Come back, post processing, turn it on. Oh. Oh, look at that. Let's do that again. Before after. Before? After. A little bit of a difference. Let's go through this and see what's happening here because you have a large list of things that are affecting the file image. So, I find incredibly useful, some not so much. Well, the first thing I'll do, 'cause I want to see this in all its glori is come to this thing right at the top quality. Maximum frame sampling. Well, you can hover over to see what it does. But basically, three D programs have something called a renderer. That's the bit of the program that shoots out those little virtual rays of light that bounce off the object and back towards you so that you get a final picture. And for sampling, okay, right now, there's a little virtual ray of light that's shooting down towards one particular small bit of our pumpkin then bouncing back to us. Have sampling, it takes into account the various areas around that ray of light and starts doing some very clever maths. And the more sampling you have, generally speaking, the better image you're going to get, it's going to be smoother. You're going to get less digital noise for that thing. Grainy effect. And also for this, here, the multiplier, I'm just going to crack that right the way up to maximum. If I take that all the way down to minimum, you're getting a really fuzzy image. But as I start to slide it up, you get a sharper, crisper image. In general, because I have a quite powerful iPad, if I'm trying to figure out my final finished render, I will just crak up the slider to maximum. Then I'm going to go through these various different things. I'm going to turn them all off one by one and then introduce them one by one. I'll fade out and fade back in when I do that so that you get to see the buildup of the various different processes rather than getting everything knocked down. So they are all turned off. Now, let's go through these. Reflection. Well, that's not gonna make much of a difference because we don't really have any reflective objects. What about global illumination? That is making a bit of a difference, isn't it? If I up the strength, for global illumination, think light everywhere all the time. Now, for this, I'm having a picture taken at night. I want to take that down a little bit, because I want the light to come from my spotlights plus that environment light. In general, with global illumination, you crank it up, you're gonna get perhaps bland is the wrong word. You're gonna get a much more evenly lit picture. If that's what you want, then great, but I don't want that. I want a little bit of drama here. Now, this is the one I like, especially for this ambient occlusion, turn that on. You see how everything suddenly springs up into life? For ambient inclusion, think about it. Light travels in straight lines and it bounces off objects. And every time light bounces off an object, that object absorbs some light and throws some back out, like if you're looking at this pumpkin, for example, all the rays of light within the oranges are being bounced out. But every time it does that, you get a little bit less light. And so when you get light coming into these nooks and crannies of my pumpkin, every time the light bounces, it loses light a bit more and a bit more and a bit more. And the net effect is that these little nooks and crannies and valleys end up appearing to be darker because that's where the light in this picture has gone to die. And for an object like this, especially an object lit at night, it's having a great difference. Look, I can up the strength. So the effects are even more obvious. That's too much for me. I'm going to lower that down. The size, how wide it spreads out. And actually, I do quite like that size, but maybe take down strength a little bit. Curvature bias. That's how sensitive it is to the curve, and in case of this, we do have curves. If I have cranked that up, yes, the light knows it's bouncing off curves and bouncing off other curves and getting less and less, but with curvature bias, it matters less to the light that it's bouncing off. Let's put it that way. I'm going to take that down there. That has made a huge difference. Now, depth of field, you've got fablur and near blur. Tap an object, change the focus point, I'm going to tap on my pumpkin. Come back post process. Let's up the fab blurt or something ridiculous. Well, that's ridiculous, isn't it? If I do that. Depth of field, that refers to when you take a photograph. If you have a wide depth of field, almost everything you see is going to be in focus. If you have a very narrow depth of field, and you'll see this in, say, portrait photography. Your camera focuses on one point of an object, and if you focus it on, say, someone's eye, but you have something called a very wide aperture on your camera, you're going to get a narrow depth of field. And so the eye may be in beautiful sharp focus, but the side of the head might be slightly soft focus, as we're seeing at the back of the pumpkin. And that can be a very nice effect. So now I've exaggerated that. Let's take this down because here's a golden rule with post process. You can do lots of things, and the temptation is 'cause you can do lots of things to do lots of things. And just because you can doesn't mean you should. Okay, depth of field, look, I will tap on the stem, which is a bit further away and repeat that. This time I come to the near blur. Can you see now with the stem selected that eye, which is closest to us, that's starting to go out of focus. That's what I was talking about when I was mentioning photographers that abuse their cameras. But if I tap on the object again, now the pumpkin is in focus. So that is much more the shot we want. Coming down. Bloom. Hopefully, you can see what this is doing. Sometimes when you have very bright lighting, you get a little area around the actual light itself, which we call the bloom, and you can see it pretty well in action with this. But perhaps it's a little bit intense. So let's come to our radius, knock that down a little bit. Come on. Intensity, let's take that down a little bit, as well. I do like it. I think this does kind of work. I'm just going to turn off depth of field because you're getting a similar effect in two different places. So I'm going to take off depth of field and just look at the bloom instead because at the threshold, that decides how bright your light has to be before it starts blooming various different things. If I move up down or I move it up, now, that's what I wanted to say. The higher the threshold, the brighter the light has to be before it starts blooming. Like when it was very low, any light bouncing off that object is going to start blooming and it could be nice. But again, just because you can do it doesn't mean you should do it. And if you should do it, you have to decide how much you do it. So I'm going to come to about say there I'm still getting not much light bouncing off the back of the pumpkin. That's what I was looking at, but I am getting some light blooming from the candle inside the pumpkin. Radius, how wide it spreads out. I'm going to just go to wherever I am there. This is an important thing. At times on this course, you have seen me type in values. Golden rule when you're doing something like this is look at the picture, not the slider, like with this. I'm right handed, and I'm putting my left hand over that panel so I cannot see the slider moving around. I'm just looking at my picture and deciding, at what point, I think, yeah, that's the effect I'm going for. And I think around there, I'm looking at the bottom corner of that mouth, which is closest to us, and that's the bloom I want. I'm prepared to live with the bloom on the back of the pumpkin. 29. Pumpkin 16 - Post Process, part 2: Tone mapping, you get a number of different models here. If I come to non, you see you don't get much of a difference. Neutral is a different model. AGX is another one. ACS is another one. So now I do warmer or colder. Start off with one on the left, non colder, so go back to non AGX. That might be useful for more cartoony style stuff, but no, I'm going for dramatic. I prefer non. And then finally come to ACES. I do like that. I'm just wondering whether it's too much. I mean, it's certainly dramatic. So what I'm going to do is I'm going to move these sliders around. Again, put my left hand over there so I can't see what I'm sliding. That is nice. It's a bit brighter, but it's too saturated. So going to my saturation. I move that over and maybe about there. Contrast, yeah. At the moment, this is extremely contrasty. So place my finger or my mouse or my pen over that slider, cover it up, and then hold down and slide from left to right. See, that is just too contrasty for me. I'm going to go with something around there, maybe. I haven't adjusted that by much, have I, but I'll stick with it because that's what looked right to me when I wasn't looking at that slider. Sometimes you'll take your hand away and you look and you think, Well, I didn't make much of a difference there at all. And so you'll go back in again and put your hand over again and move that slider around again because you think, well, if I didn't move the slider, then the picture's not as good. No, trust your eyes. If the answer to this is saturation on one at the end of everything, great. Go with that. Color grading, this is curves, right? This controls your overall contrast. A lot of people like curves, and you can move this around. I am not going to go into what curves are. Have a play around with them. You can move the routes to points around. And in the case of this red one, you can have less red in the mids, which actually quite nice. Because I'm pulling the red down in the mid tone areas, I'm getting a little bit more of that pumpkiny color. Look, if I move it up, all of a sudden it looks a bit too warm, so if I pull that down there. This is adjusting the dark to light or the color balance in your picture to a very fine degree. Curvature. This is quite an interesting one. I'll try and make this obvious. Let's come to the cavity, and I'll choose a very red color. And if I crack that up, can you see how I'm getting a distinct red color in the cavity areas? And when I take it down to almost nothing, then put my left hand over the slider and start to bring it up just by tiny amount, and I'm getting just a little bit of warmth in the cavity areas, which, again, I like. What was that 6.4% almost nothing. Now, what about the bump? I wonder. Let's choose a very light color. Put my hand, come to my slider, put my hand over, and start to increase it. Okay. Now, what is happening there? Do you remember a couple of videos ago where I used something called triplanar paint all? That was in the painting video, and I created lots of little bumps all over the surface of my pumpkin. But what I've done with the curvature is all those little bumps are now this bright color. That can be useful under certain circumstances. Oh, and look, let's take a look at the store. You can see the bumpy areas. They're a much lighter color. And if I was to just take that back a little bit, actually, on the stalk, I quite like that. It's taking the ridges of that stalk as they go up and altering the color. But I need to think about the picture as a whole. I think it looks terrible on the actual pumpkin. What would happen if I was to alter the actual color itself? Again, I don't like it. It's looking like digital noise. I do not like it on the bump, so I'll take it from the bump. But the cavity, I do quite like. Now, what about the fact that's an overall slider, but the bump is out of the question. I'm only concentrating on the cavity there. So in this particular case, the factor isn't making much of a difference. Okay, chromatic aberration. When you take a photograph, especially with, say, a zoom lens, which is not the best quality, light refracts through the lens in sometimes ways that you don't like, so you might get a purple fringe on one side of a leaf, and this alters it. I do regard this as a little bit one of those. It's a nice effect if you like that sort of thing. I don't vignette, that affects the edges of your picture, and I'm going to leave it on because it's subtle. If I come to post process and turn it off, now I've just got a plain gradient, if you look at the side of the picture. If I come back and turn it back on again, I now have a darker surround to my image, which gives you the effect of you focusing more on the central area of the picture where my pumpkin is. And you can alter things like, how far it goes in or out, also how hard or soft it is. Can you see when I alter the hardness slider, I'm getting darker areas going away and creeping in to my image. So have a play with that. Just move the sliders, see what happens. Grain, that is where you deliberately add a bit of noise into your picture. That is to simulate the grain of an old fashioned camera, which can be a nice thing as opposed to the digital grain in the darker areas of your digital photos. That is not a nice thing. I do not want that. The sharpness. That works on increasing the contrast around the edges of a picture. In this particular case, I do not like it one little bit at any setting, so turn that off. Pixel lot turns it into a whole load of pixels or just how blocky or fine those are. That is emulating those old grainy Pixot images. Sometimes you'll find them in computer games. I never touch that. Scan line. That's to do with videos or if you want to do something like a security camera effect. Sometimes people will use that. Diring if you remember me talking about noise and stuff like that, Diering can try and help smooth out certain areas. That's where for things like look at my background. I have a deep blue at the top, fading to a black at the bottom. There is a very, very narrow range of colors. If it was going from a very light blue to a very deep blue, there would be a broad range of values. But at the moment, there's not much difference there, so it is a very narrow range of values. Now, because of the way computer works out things, you might get an issue called banding. That is where you would get to see. Instead of a smooth gradient, you'd see an area of blue, and then a sharply defined area of slightly darker blue, and then another well defined area of slightly darker blue again. Sometimes you'd see it on very old digital images. It doesn't look very nice. So dithering is there to try and mix up the pixels a little bit so you don't get that effect. If I turn it off, I can't see a difference there. I really, really can't what I'll do now is I'll come to my camera. I'll come to take one back to my original shot, and there's my pumpkin. Just very quickly, I'm pretty certain that there will be people watching this who have taken one of my procreate courses. And a very common problem is, well, people don't know what to draw, and supposing they say they wanted to draw a pumpkin, for example, but they're not sure about the overall shape of the pumpkin, and they're not sure about the various different segments that go around a pumpkin, what they would look like. And they're not sure what a pumpkin would look like when you cut out its eyes and its mouth and its hat, how they would go around a pumpkin. And they're not sure what the stem of a pumpkin would look like. There's a stem. The point I am making is that if you have ever wanted to draw something or paint something, but you're not sure what it would look like, and you're not certain about how the light might bounce off it or where to put the shading, where to put little bumps, and how it looks like if it was facing down and to the right or what the stem would look like, now you do. And if you just wanted to do a simple drawing like a pencil drawing, there it is in black and white, or you're uncertain what moonlight would look like. If it bounced off the back of your pumpkin, it might look like that. Learn nomad sculpt at least to a basic degree. And you never having a visual reference for the things you want to draw is a thing of the past. You can sculpt whatever you want, you can light it however you want. And from that point of view, nomad sculpt is an incredibly useful resource, whether you are a three D artist or a two D artist, whether you prefer digital or traditional. If you're a three D sculptor, how quickly can you prototype the things you're going to make if you use a program like nomad Sculpt? What an invaluable artist tool this program is? Alright, no, just very quickly. If I come to my project menu, come right the way down to export to render, there's your preview of what you're going to end up with, but without the little gizmos and panels there. If you wanted to show the interface, you could always tick this button, but I don't want to. The final size, well, by default, it's set to screen. Personally, I'd like a little bit more resolution there. I would prefer to go to something like 4,096, and you can see there's a little guide where things are darkened out. Let's take that down a little bit about, say, there. Come back and you can see, I'm just missing a little bit of the stork. That wouldn't really matter, but if people get worried about that, move it down a little bit. Then you can render that out, or you can come to custom and specify whatever size and width you want at the moment. I'm rendering out at four k. Export PNG. Export resolution is high. Oh yes, okay. Make sure to save your project. Yes, that is good advice. But let's throw caution to the wind. There is my final image. It's rendered out in PNG format, which gives fairly small files, but it's not lossy. You don't lose any detail because with things like, say, a JPEG, sometimes it will discard information in order to save space. A PNG file doesn't do that. I tap on it. I can either come and export it, let's do that. That's exported, and then come to Done, and back to where we started. I'll come to final size, move around, and there's my pumpkin. Now, don't go away because there are more things I want to talk about and there are more videos for that. But in the meantime, that is your first project start to end going right the way through from basic modeling, all the way through to a final finished process image. Well done you. But stick around because there is more coming up. 33. Anna 04 - a Voxel Remesh Problem: This file is called Anna 02 Eyes. It is available as a download. So if you want to follow along from the same point, great, we can do that. Now, the first videos I recorded, I recorded back to back. But now I've taken a break. I've come back, and it's given me a chance to come back with some fresh eyes because I wasn't entirely happy with what I've done so far. And I think I'm okay with the overall shape of this, at least in profile, what we're looking at right now. But I start to think that I was doing something wrong. That's said. I think it's looking a bit too blobby overall, which, of course, I can refine. But especially around here between the eye and the mouth, I've got my little bag under the eye, which I was so pleased about. I've got so many bumps and dimples that the actual outline of the mouth is starting to become a little bit confused. So I think I need to simplify the top part of the head. The bottom part, yeah, fine. I think it would suit this particular illustration to have underneath the lips nice and baggy and saggy. And yeah, we can have it blobby with a few creases in. But it's the top part of the head. I think that needs simplifying, and that will act as a bit of a contrast. To all the bobbiness underneath. So let's get started with that. I'm not keen on what's going on in between the eyes. On that score, though, I will come to the eyes. I will come to my Gizmo, and I just want to pull them out, so they're a little bit more bulbous. If you take a look at anglerfish, they have these really blobby eyes. Yes, I know I said it's cartoony, but it's balancing up the cartoony bit with the anglerfish bit and seeing what we can get there. And yeah, I prefer that. Alright, so come back, and I'll come and choose any other tool other than the Gizmo tool because it's kind of getting in the way of what I want to look at. I am going to come up to my scene menu and I'm going to add a cylinder. And I'm going to use the cylinder to create a new bit in between the eyes because I think it needs to be a bit more of a definite and a bit smoother shape. So let's come to my gizmo to position it. Come to the big circle on the outside to reduce it in size. I want to angle it. Also, I want to flatten it by quite a bit and make it wider. While I'm here, come on. Let's come up to our shading panel. Turn off use Global Mt cap, and then come down to which one was it? I think it's this 1 second from top. Is that the right one? Yes, it is. SSH four Clay red. Ah, come out, position it a little bit more. Stretch it out. What I will do is come to this tiny box underneath with possibly the smallest icons I've ever seen in my life and come two, not the gizmo icon, but the one next to it, which brings up my parameters, and I want to make the inner radius smaller and the sorry, the top radius smaller and the bottom radius larger. Something like that. It's following what's happening with in between the eyes down to the mouth, but it's a lot smoother, and that's what I want. Come back to my gizmo, stretch it. So it's a little bit deeper. Just move it around until they get we're sitting in relation to the mouth, and I think at the bottom, it's okay, but it needs to come up. And I just try to nurd it into position so that the top of it is blending fairly nicely into the forehead and the bottom of it is blending into the side of the mouth. That's as far as I want to take before I come and validate it. But now I will come to my move tool, again, nice and big. And I want to make big movements to this. Move that around here. Bring it in a little bit here because I don't want it cutting into those bags around the eyes. Now I'll make my brush pretty big. I try and pull this bit up here. And what I do want is for the whole thing to be round like this. Maybe pull it in in one or two places, get it as close as possible to how I want it once I do what I do next, which is going to be I'm going to vaxel remesh this plus the head so they become one object. That is the main thing I wanted to do with this project. Well, no, there's other things I want to do, but this is the bit I wanted to show you right now. That's matching up quite nicely with the lips. I've got that nice curve to it. Yeah, I think that's about right. Now, take a look at this. I have my existing head, which is quite a lot of polygons compared to that new nose bit that I'm doing. And that can lead to a bit of a problem because look, I'm going to come here. Vaux remesh. What do I need it as? Okay, well, for starters, I'm doing something wrong here. I'm only taking a look at the nose. What I need to do is come to my scene menu. I've got cylinder. Well, that's my nose, plus also the head. Make sure you select them both at the same time. Then come to VaxelRmsh and comes to my resolution. I'll make it. Well, we're still in early stages, so I'll make it around about the hundred and 50 mark. And then if I remesh, multi resolution will be last. Fine. I can live with that. And I've remshed it, and that nose and that head are now the same object. That is all well and good, but can you see the problem here if I zoom in a little bit? Vox will remesh. Don't get me wrong. It's brilliant. It's great. But it's not very good at smoothing out polygons. So you can see I'm getting a slightly fasted look to this. Now, I can come in and just smooth it. I'll be doing that anyway. But if I two finger tap to undo, I'm going to make my life easier if I select just the nose and come to multi as and subdivide it because subdividing naturally gives you a smoother finished result. So if I come again to my cylinder on my head, come to voxel remash, it's still the same resolution. Come to remash. And yeah, that gives me a smoother result. My move tool is selected, I'll come to smooth. I'll take the intensity down because I just want to give this a little bit of a polish rather than smooth out a whole load of teta and I can just gradually smooth this area out like this. And I end up with a very smooth front end to my fish head. And yeah, that works for me. And that is thanks in no small part to voxel remash. 38. Anna 09 - Add More Detail: Alright, let's come in and work on this. Now, because I'm doing well in terms of memory, I'm using about 200 megabytes of memory. 370,000 polygons, I've got room to play with. So what I might do is come to my scene menu. Everything's been changed to cube one. Let's rename this. And let's call this Anna. I am going to clone Anna. I'll come to my Gizmo. Come to my gi inmost settings, and I'm going to move Anna by, say, how many units? What? Five units off in one direction. So the clone is not sitting in the same space, and I will make it inactive and invisible. I will come to main anna. So now I have a backup, and now I know I have that backup. I can work with more confidence on this because I know I have a backup in case anything goes wrong. Okay, so when you've done a big vax reemerge like this, the main thing is you're going to get these little polygons around the base. I'm also getting still a little bit of polygon fasting just in the area you can see on your screen. So now we just on a big vax to re emerge, we're going to be using the smooth tool quite a bit. And with this, remember, you can take the intensity past 100%, but you won't know it because once you get to a certain point on the slider, well, I can do any resolution, and that doesn't show up. I'll take this down to around about somewhere like 65%. Size a bit smaller because the first thing I want to do is just start merging this stuff. Have I got Mirror selected? No, I don't. Make sure. Sorry, not symmetry. Make sure symmetry is selected and smooth things. The top here as well, he's starting to get a little bit of fasting. I'm not going to worry about that because I think I might end up doing one more pass with this for really fine detail or I'll want to stop painting. But for now, I'm just going to smooth out certain areas where the spines join the body, especially around the tail area. I want that to be looking smoother. Ooh. Look at this. I need to look at that not now in a little bit, though. And make it look like one coherent object rather than a series of objects that someone just stuck together, which is what it's looking like now. But now, much better. Oh, definitely the top of the head. That needs some working up, as well. But I think what I'm looking at is a bit of a feature. So, as well as smoothing it, I'm going to get my clay tool, set it fairly fine, and I'm going to start to build up a few ripples around here. The kind of thing that you would see where something like this fishing rod would join the body, a few lumpy areas. Then, yeah, I'd prefer that. Let's make it a bit more definite, so it's not just a few indistinct lumps here and there. Let's make this more of a ring like this. So suggesting the idea is a little bit of muscle or fat or tissue underneath there. Alright. I'll go with that. Yeah, look, here, Not so happy with that. Alright, so let's come to dnotpo enable it. Detail, I want that pretty low, and just add a few more polygons in there. I could turn on WIFrame so you can see what I'm doing. In fact, yeah, that's helping me, as well, because I notice there's certain areas where unless I get my brush working covering the right area, it doesn't put down the polygons exactly where I want them. Maybe a little bit here. Oh, that bits okay. Let's check the rest of my spines. Yeah, they're very thin ones. A little bit of rescue work is needed on these. I think, in fact, with that, that so fine, let's come back, and I'll up the detail to around, say, the 50%. Oh, yeah. That's definitely putting down a lot of topology. And so now I come to smooth and I can smooth it. Maybe I should have done that in the first place with the other ones, because now I'll come to clay smooth and sorry, my bat. I need to turn off dynamic topology. And take all those lots of little extra polygons I've created and smooth those. Because I did create all those extra polygons, smoothing becomes quite a bit easier. I have decided I am going to do a finer pass for this really fine detail. Whoops. That's too strong. Wire frame. Yeah, again, for that, I think that needs some finer topology. Because otherwise, you don't have enough polygons to work with when you use your smooth tool. I heard it has a habit of over smoothing dynamic topology. Oh, and smooth that. Yeah. You can see now I have more polygons there. It's looking a little bit rough, not smooth as when I first subdivided stuff, but I don't care about that because this is supposed to be a character ful illustration. So if you do get a bit of rough in there, I am fine with that. What I don't like is faceted rough, like you've heard of polygons not behaving as opposed to this kind of rough, which just looks more like a rough bit of the character. For this one, Dynamipogen bold. Don't need much. Don't want to overdo it. Then disabled. Smooth it turned on, and just take that smooth it out. As I say, that will be taken to a higher resolution. And when you take it to a higher resolution, generally speaking, you're not going to have that many problems with it. Let's come to my move to. I still want to make that more of a feature. I want people to look at that and know what the shape is. For that, I think it does need to be a little bit more pronounced. Quite often, you'll see some quite indistinct shapes when people work. And what I don't want people to have when they look at my models is an uncertainty fail. Now, if you've done any of my two D courses, you'll have heard me talk about the uncertainty fail before. The uncertainty fail is when you look at something and you're uncertain what the intent was of whoever made it. Like with this bit, I don't want people to look at that and say, Well, is there supposed to be a little bit of a nobody bit or not? That usually happens when people are being a little bit timid in what they are doing, or for whatever reason, they don't go quite far enough. I don't want that to happen with this. Let's come to my crease tool, put a couple of creases in there. I want people to know that I have thought about this area, and I've made various changes to it so that it looks like a bit that comes out of the body and turns into a fishing rod. And what about this end? I'll put a few creases in there, come to my move top. It's fairly small, and the area I'm looking at is quite big. Start dragging things out. So it looks like there's a bit of a muscle mass there, which is connecting to that little light. I'll leave that light at a very simple sphere. The tissue around it, I will build up. So people can look at this bit and say, Yeah, the end of the fishing rod is definitely grabbing onto. That light bulb. I might end up getting marine biologists writing to me furiously saying, It's not a light bulb, it's a and give the name of what it actually is. In which case, great, I get to learn something new. Alright, I'm just trying to get some definite shapes in here. Nothing indistinct. In fact, for this, I'll use a tool which I hardly ever use the drag tool. It is like the move tool. But instead of the move tool which moves things around, this yanks things around. It's one of these no messing. I'm not sure that's the best description I've ever given in my life, but look, it's like the move tool, but, look, Okay, that's looking terrible. But if I compare what I just did there, say, the move tool, the move tool is a bit gentler on your geometry. The only reason I'm using this is because I want it to be because it's a no nonsense, I will drag stuff around kind of a tool. And if I turn on the wire frame, yep, I ran out of geometry there, but don't worry, I am going to do a vauxalRmash on this. Before I do, though, I'm looking at some forms here and just deciding what I want to do. Like with this bit where the body joins the head to turn on smooth, make this fairly large and crack the intensity way up because there are various bits where I don't want that sharp division, especially underneath. I want that to be a lot gentler. And maybe at the top, as well. I want that to be pretty gentle. Oh, while we're here, let's just quickly lose a little bit of that fasting which I introduced. What I do want is to come to my crease tool, and I want to deepen the crease in certain areas like this bit around here. Make it bigger, so it's doing a more definite job. And I'll do that for a second, and make it less intense but big so that it's doing a similar job, but it's not cutting so deep because the intensity is not set quite as high. In fact, I can use it just to taper out that crease in the body there. Let's put a few more direction marks there. Probably a little bit of character to this body. And while I'm doing it, now that I think about it, let's try and invert. Sometimes you'll see that with fish. You'll see maybe it's bits of the flesh which are helping support the surrounding flesh, but you get these little they're not ribs exactly, but they're just slightly harder bits or more defined edges like this. To my smooth tool again, because there's certain bits here where I think I overdid it a little bit, lower down the intensity, not the radius, the intensity, and maybe smooth that end, especially at the ends. But so it's a bit more of a gentler transition than I had before, which I think you would see Oh, and down here, definitely. That needs to fade in. That was too hard to join there while I'm about it. Let's take a look at this. You make your marks, you smooth things out. If you did everything the same with some hard transitions, like I had here, I had a hard crease going through to smooth skin, but the transition was too hard, so you kind of lose the effect. Same hip. I want that to be smoothed out. So I've still got a little bit here of a crease. But a bit more gentle. I think we're really getting there with this. I think, yeah, let's smooth some of these bits out here because I don't want these little fasty bits there when I go to a higher resolution. Because we've seen when you go to a higher resolution, those fasted bits can still stay there. So let's deal with them now. Quick scrubbing over all my areas. You can see my intensity is set fairly low. I don't want to alter the form. I just want to smooth out a little bit. Now, there is always the option of coming up to our operations here and doing a global smooth there, but I'm not sure that will work. I've tried that in the past. Don't get me wrong. It's got its uses, but not all the time. Okay, so I'm smoothing a little bit around here. What I might try doing is coming to the pinch tool, let's show you what this does or remind you. Let's come to this bit here, and I'll turn on the wireframe. If I use my pinch tool, see how it's pulling the polygons together. And if I turn off the wire frame. It's taking those rather mucky polygons, those rather disorganized polygons. And because it's pulling them in, it's presenting something a little bit better defined. You want to be careful with this one, though, because it can get a little bit overenthusiastic. Let's put it that way. And you can see it's pulling in the surrounding areas. That may not be what you want, because look the back of the eye, for example, it's starting to get a little bit lower down or let me show you that again. Just the bottom of the eye, it's starting to pull it down. In this case, I'm fine with that because it's providing a little bit more definition in those areas. Let me come to smooth because I'm still not happy with some of these areas here. Turn that off, come back to pinch and just pull in some of these areas here. In general, use the pinch tool, but just keep an eye on the areas which surround it. And I think we're getting pretty close to the point where I think I would like to do one more vauxel remash so I can start putting in the final details. If I wasn't talking to you, I'd probably spend a bit more time with this. That's way too zoomed in, so let's come too. You can't see it because it's a white icon with a white eye behind it, but let's zoom how it's up again. And just before I need to do a little bit more, I think, around the eyes because they are in one or two areas, not looking quite how I want them to look. The surround needs to be a bit more pronounced. And what was I saying? Yeah, at this point, I would probably spend a bit more time working on the detail, everything everywhere all at once, and just again, working quite fast, quite freely, and then going back and checking how it looks. But this is being recorded. So if there are bits I miss or you think I should have done, but I've missed my apologies. And also, you do get to the stage where this were was it? Art is never finished. It's only abandoned. There would come a certain point with this, even if I wasn't talking to you at the same time, where I would think, Okay, that's it enough. I could work on the sum more, but frankly, I'm losing the will to live. Alright, I'm gonna come. I'm gonna come to save us. Anna 04, let's just call it. I'm going. I will export this out to my computer. I'll zip this up for you so that you can download this. Alright, I will speak to you in the next video. 39. Anna 10 - Add Texture, part 1: The main thing I want to introduce you to in this video is to go back and take a look at how we can put textures on our models, like we did with the Goblin head. But there's just one or two more things I want to say about this. Before I do, though, I want to hire a resolution mesh. So I'm getting to the stage now where really I do need to wrap this up. Comes a certain point where you say, I've done my large shapes. I've got the overall shape that I wanted, and that is the point where you vax will merge the shapes that you need to vox will merge. So you can add more detail or more finer detail. But there does come a certain point where you say, I'm going to have to call this model finished so that I can do my highest resolution detail and start adding texture to the actual model itself. I am nearly at that stage now. Before I do though, there are just one or two things I want to do. Like, for example, I took a quick break, came back, looked at the model, and I realized there were one or two things I do want to chase. I'll come to my cruise tool. It's set fairly large and fairly well, not very intense, and it's set to invert, because this ridge here I quite like, and I want to extend it out a little bit so it goes behind the eye like this because one of the main things I was feeling was that there's still a definite head and a body to this, which is, well, that makes sense, but at the same time, I don't want the model to look like it's being made out of two completely separate. Models that have just been stuck together. I want the two different models, the head, and the body to interact with each other a little bit. So just build up certain areas, come to smooth, set fairly small, and, well, you can take a look at the intensity slide yourself. Just want to marry these objects together a little bit. And that's helping provide a little bit of glue there, maybe smooth out the start of that ridge a little bit. And come back to my crease tool. Still set to invert, 'cause I want to sharpen up this ridge going down a little bit. I can make that smaller. Bring that down here. And while I'm about it, turn off invert. A little bit more definition here. And that's point I do want to make as well. Bring the stuff around. I definitely want that Brees for the cheeky grin, I want that definitely be bigger. But that crease I did, I'll come back to smooth and make it my breast size a bit smaller, and I'm just going lightly with my pen right now, and also this area here because yeah, creases are great. Breases help define the body shape, and they're important. But one of the tricks with it is deciding where the crease starts and where the crease stops. Because when you can see me doing it now, I'm smoothing out the beginning and the end of that crease, which is what would happen in real life, maybe a little bit here, rather than it suddenly starting and stopping. You don't want that. And come back to my crease tour because I notice I do have this crease flaring out here. So maybe I can echo that form a little bit. Just hit oh that's too fine. I will lower the intensity and up the size. That's giving me more the effect I want. You can change what a tool does quite a bit just by riding the settings. Now, dare I do it a little bit around here. That's a bit close to the mouth. I don't want it to be a distraction. Let's take a look at that. Yeah. I think I can live with that. I think I can go a little bit more detail on one or two places. The other area, though, that I do want to look at, I will come to my brush tool, which is a fairly well, it's not as blobby as the inflate tool, but it's not as clearly defined as the clay tool. I've got a bit of head and a bit of body, and I want the two to get married together a little bit more like this, now let's take a look at. That to com a little bit more. Let's take a look at that. Yeah, that's starting to look more like a consistent body. I would come to subtract. Just take away that slight bulge area there, turn off subtract, make my brow size a bit smaller, fill in this area here, and then come to smooth. Smooth the whole area. Out. In this particular case, I don't mind those ripples. I kind of expect to see those on the body, so I'm not going to work slavishly on those. And yes, I admit it, I'm still finding things that I wouldn't mind working up a little bit more. But time is moving on. So, let's say, That's my overall body shape done and dusted. Give it a quick smooth so that when I do my final high res render, I don't bake in any of these fasted polygons. Enough. I'm just fussing for the sake of fussing now. I'm happy with the changes I've made. So I will come to Anna I, my invisible spare, and I will delete it. I will come to Anna again. I will clone her and do what we did before. G to gizmo. And I'll type in a value here. It doesn't matter which axis. The important thing. Is that spare is not lying in the same space as the model I want to work on to make that invisible. The selected, come to Anna. There's my wireframe. It's still pretty high ras, but that's okay. I don't mind that. Oh, just as a quick aside. If you tap and hold, you can always alter the color and the transparency of that wireframe. In case for any reason that you need to see the wireframe, but you need it to be less intense. Yeah, you can do that, but turn it off for now. Come to. A voxel remash. I had it on about 500. Let's Come on, let's really crank this up. Let's take it to about somewhere around the 750 mark. It's gonna leave me with around about 1.1 million polygons. Let's come to our wire frame. Oh, wow. That is dense. Around about 1 million polygons. You know, that makes sense. Now that I've done that, I now have the kind of geometry I need to smooth out these areas here. That does take down the intensity. Do you want to completely overdo it? I am not gonna worry about that fasting there, because one thing I haven't done with Anna or the eye, let's come to the eye first. If I come to my materials panel, the smooth shading is said to Auto. I'm going to turn that on, and it becomes smooth shaded. What about the body? Come to the materials panel, turn smooth shading on. Well, look at that. That's done a fine job of smoothing out Anna. 40. Anna 10 - Add Texture, part 2: The wireframe on. Oh, yeah. Loads of polygons to do some fine detail there. So, turn off wireframe. Okay, so next, I am going to come to my stamp tool. Do you remember the stamp tool? We use that to provide some nice, fine detail to that goblin head we did a while ago. So let's come up to our brush. It is set to lock and radius. Let's remind you what that does. If I come to my model and just drag out, I can drag out a shape like that. Let's undo that because it's not quite what we want. That's lock and radius to drag things out. I can have it set to screen or I can have it set to constant three D. I'll set it to constant three D. I'm going to import something. Come to import come to files because I found this on the Internet. I will give you the name of the website. It isthdtexs dot E. And they supply free three D textures. Although if you want to buy them a cup of coffee, I'll make a donation. I'm sure that will be very much appreciated. I will not supply this to you because I think to be fair to the website, if they are kind enough to supply three D textures, I'm going to ask you to go to the website, go to threedxs dot E. And the one I chose was called Dragonscales double 01. You click on it and you come to download all the maps. There's only one I want. And that is dragon scales double 01 htmap dot png. Download that. If I select on it, and come to open, let's take a look at what we've got. Well, let's drag it out. Right now, you can see it's still looking a bit square, which I don't need. So let's come back again. I'm going to set the scaling. A one. That should help me. I drag out now. Oh, look at this. I have these really interesting set of scales. This is what's known as a height map. And if you take a look closely at it, when you can see, if I zoom in, the darker bits recede back into the texture, the lighter bits come forward. It's called a seamless texture map. It's called a seamless map, which means I could increase the tiling on it to say, four and tile on the X and the Y and if I drag out now, you can see I've got a really small texture map there. In fact, I do quite like that. So four is too many. I'm going to come to what? What's three look like? N getting a little bit too much. What about two? That is quite nice. Of course, it all depends on how much I drag it out, and that would be about the scale I'd want for it. And I'm finding that a bit too intense, so I will lower the intensity down to about 20%. When you do this, make sure you got the direction right. If I take it like that, that's going down. That doesn't work. That looks back to France. So somewhere around here and I've suddenly got a whole load of texture maps there. Do I need to do one down the bottom? Yes, I think I do. The problem is, with that, you can see, I've got symmetry enabled, and I'm not quite in the middle, so I'm getting this overlapping texture maps. I don't want that. So, turn off merit, is that going to make a difference? Yes, it is to about there. Now, one of the tricks with this is getting the texture maps to line up with each other so that it's not obvious where the different brush strokes are, like if I come here, if I made this very, very large like this, it's obvious I've got two different sizes of texture maps, and I'm trying to line up the textures I'm drawing out now with the textures I've already placed and it's not going to be easy when you have a complicated texture like that. So that is a bit of a trick to master. I'm going to lower the intensity down what to 9%, possibly even less than that, 8% because I want these texture maps to be a little bit more subtle as you move away from the body. Maybe about there. And what about the front? Again, I want that to be even less intense. What about 5%? And let's come here and let's drag out something here and about there and maybe make the size just a little bit smaller and making the intensity right the way down to 3% because I want people to look at the character on the face. I don't want them to be distracted by a whole load of scales. So a little bit of texture, and I will turn on symmetry again, maybe crank that up to what, 4%. And just drag out, make sure the scales are going in the right direction. So I'm getting a hint of a scale rather than the texture is completely dominating what I've got. Let's take that up to what five or 6% now. Wrong way that way. And also the scales, I don't mind if they are different sizes as long as it's gradual. Let's do a little bit on the top, maybe make intensity about 10% around the top. Drag that out. Try and make it so that I'm getting a little bit of alignment, as I said, with the textures I did before. Alright, intensity right the way down to 3%. Just around here. And yeah, that's kind of matched up at the front, maybe a little bit here. Let's take a look at the top. Up the intensity to around 7%. And a little bit around here. Is that too much? I think it's okay, but it's looking a little bit, I'm having a problem trying to match it up. So one thing I can try doing, come on, let's get you down to four again. Come to the stamp. The tiling set two, I want to turn that down to one. Is that gonna make my life easier? Yes, it is because now the tiles are a little bit bigger, so I'm not having to scale up so much and cover a wider area just to get everything to play nicely with each other. So it is easier from that point of view to match things up. No, that needs to be bigger, doesn't it? That's right, the intensity so that the scales look consistent rather than just a whole load scale like textures which don't really talk to each other. That kind of matched up. I get away with it around here? Yeah, yeah, I'll call that texture. One thing I will do, though, is come to one or two areas. I'm gonna come to flatten, set very low, quite small. I'm just going to get rid of it in certain areas. Just why I want the facial details to show up a bit more. It also helps break up this texture because it can get a little bit relentless, which I think it is at the moment. Maybe the intensity a little bit more. So I've got the scales getting bigger and smaller, getting more intense and less intense, and I'm helping things along just by flattening out in certain areas. So I get the overall fish scale effect, but not at the expense of the character I'm Anna. I'm going to quickly go over certain areas. Put one or two creases in fairly deep, fairly small, which you kind of lying on top of the textures. That suits me fine, because I think the texture does need to go in certain areas. Oh, no, should I put a few creases on Anna's lips. Maybe I should do. Nothing heavy. I'm making little kind of crisp cross marks here. And now you've got your texture, which I just laid out, those fish scale textures, and it's great to be able to do stuff like that. But sometimes just doing a little bit of light sketch work, like I'm doing now, making little crisscrosses. That can work wonders. And also, you're controlling it. You're not dependent on a texture to do the work for you. If you get a texture which can do the work for you, Great. But if not, then having your skill to be able to do this kind of thing. Well, that's two strings to your bow. Now let me take a look at this. Yeah. I want to come to flatten again. Set at very low intensity. And I'm just going to knock back some of this texture. Don't get me wrong. I like it. I'm glad I did it. But I'm finding it's just a little bit too much in one or two areas. I need to tame it because a very common thing with any kind of computer graphics, be it two D or three D, and this has been the case for decades, is that sometimes the computer or the software is deciding what your image looks like instead of you. Because, yeah, great, I got this texture. That's really nice. Saves me a lot of time. And what? Do I have the expertise to do something like this? I'm not sure I do. I don't have to because the computer can do it for me. But at the end of the day, I don't want to have the computer telling me what my image should look like. I should be the one who's in control of that. So combine these great techniques like this, combine those techniques so I get the suggestion of skulls in some places and different sizes, which I'm sure doesn't happen on a real fish, but I've got some points to make here, but they're very obvious in some places like the body and much less obvious in other places. Blending opposites. Okay, we are very nearly there with Anna, certainly for the modeling, and I think the paintings going to be a fairly straightforward paint job, but we still have the teeth and the thin material of the fins still to do. For the teeth, I would like you to do those teeth yourself. Because it's exactly what we were doing. With the fins on the back, you don't have to join them to the body, leave them there, but take a look at the background reference image. There's plenty of teeth there, create your curves. D one side of the teeth, then just select all of them, put a mirror modifier, so you get the teeth on the other side. I will do that in between this video and the next video. I would like you to do the same. You know how to do it, and I'll see you in the next video. 41. Anna 11 - Finish the Fins: Okay, so how did you get on with those teeth? Hope it wasn't too hard for you. It might have been a little bit tedious. Because once you've done one tooth, by, I assume, using the tube tool, it would just be a case of positioning it, using the gizmo, and then cloning it, and altering the control points, altering the size, and the position. And then what I did, if I come up to my scene menu, I selected all my teeth, and then I came up to join, and I joined them together so that should I want to paint them, I can paint them as a unit rather than having to select each individual one, which is going to be a pain in them. Okay, so the last thing I want is just to finish off the fins, I need to put down the little transparent areas that you get in between those fins. Well, let me show you one primitive that I haven't shown you before. So let's come up again to our scene menu. Come to at. There is this one here called plane. Now, let's take a look at this if I move around. It is a very, very simple flat sheet. And one thing I could do is come to my gizmo, turn on snap on the left hand side, and then I can come and just pull that ring which is yellow now until it snaps to 90 degrees. Move it around, get it so that it covers every area that I want to draw in the bits in between the spikes. Let's check wireframe. Yeah, I would want to make it a much finer division. I would just go straight to making it like this, then come to validate. And then let me introduce you to a tool that we haven't used before, which is surprising because we tend to use it a lot. My plane is selected, I'm going to come to my trim tool. And with this, if I come over to the left hand side, you can see I have asu selected. So all I need to do is draw out, be careful to run along the center of the spine as much as possible. Come round, and that big gets cut out. Now, straightaway, let me show you something. If I come to the settings at the top, get a hole filling I don't need. Supposing I'm septablean and I make a little cut oh my word, no, I do not need that. So come back to the top. What about legacy? Whole smoothing threshold Epsilon. Fascinating. Do that. Oh, my word, no, I don't think so. That's come to fill. And yet again. Oh, my word, no, I do not want that. So come to this one on the end where it says none. Okay, we can all breathe again. That is what I want for this. So what I could do is just come and start trimming out. There is different areas I can make shape like this. Come down here. Do that. And very quickly, I could build up the shape of the fin like this. And that's a plane. That's really thin. Great. But I have problems with this. For starters, let's turn off wire frame. And it's looking okay now, but come on let's come to another tool because you can't rotate while you're using the trim tool. Move it around like this. Okay, maybe that's not the best color I'm using. So what I would do is make sure it's selected, then come tube. And MCCAP let's turn that a different color so you can see more clearly what I'm talking about. This is normal. Okay, let's try that. So from the one side, that looks fine, move it around. And I've got a different color on the back side. The reason for that is that the plane is possibly unique, and I'd have to double check this. But I think it is unique amongst all the primitives in that it only faces one direction. It has no thickness. Now, if I only ever wanted to look at my model from this side, then yeah, fine. Not a problem, but turn it round. I'm going to get problems here. Now, there are methods where you can mirror this very thin edge, mirror this plane, so you've got one facing in the other direction. But I'm not sure I want to go down that road. For me, the plain tool is useful. When you want a ground for whatever object you've created on, and you can cache shows, yep the plain toolt is good for that. But for general purpose modeling, I've not had a very nice time with it, so I'm going to come up to my scene menu and I'm going to get rid of that instead. And oh, look at that. Do you remember our spare model? Let me just make that visible a second. That was the previous version I kept as backup in case me text during the fish. Went horribly wrong. But no, for the most part, I'm happy with that texturing, so I will make sure that the spare object is selected and I will delete, which means our scene vertices drop by a rather large amount. We've got less than 1 million polygons here, and yet I've got the level of detail that I want. So yeah, great. I'm happy. Let's come back to our scene menu, and I'm going to add a box. Let's tap away and see what we've got here. Well, I'm going to come to my Gizmo, and I'm going to make this box very, very, very thin. So now if I zoom in really close and personal, you can see, and maybe I'll turn on the wire frame so you can see this. What I've got is a very thin box. I think I'm going to have a slightly easier time with that. I will tap on my snap cube so that I'm facing directly right. Let's come back to my parameters by tapping on this tiny little icon where I'm circling, and let's move this out and make sure that this box covers all bits of the fin, which it does now. I will come to my little three dots. Let's just move this off to the side. By dragging from the top, you can see where my pen is dragging that little blue circle. Now for my division. Oh, wow. That's divided once. That's divided twice, which has taken me over half 1 million polygons. I don't think I need that. That's division of three. Let's take that down to even two is giving me a lot. Just to 500,000 polygons. You know what? I'm fine with that. I have plenty of memory to play with. So I will come to here and I will validate. Okay, so let's come back to our trim tool. Actually, no. Let's very quickly take a look at the tool next to it, the split tool, which is almost identical. The only difference being is if I draw out something here, and then I come to my gizmo and tap here, the split tool will take whatever object you've got, and rather than deleting the bit you select, there'll still be an object there, so that can be very useful. Let's undo and undo and come back to our split tool. Now what I'm going to do with this is just do a rough selection. I'm going to come up here, make sure I come up the middle of that spine. Get rid. I'll get rid of all of this stuff which I know I don't need. Let's do that a little bit finer down. Here, I've got a feeling that when I did this, I knocked the view so it's ever so slightly off pure facing right. I'm going to double check that. And when I come to my snap cube, click on it? Yeah, I did. Just be careful with that. In fact, come on. Let's be sunspot. Let's come to the padlock, so now the view is locked so that I can't do that again. Let's come here and just do a rough brim. Here? Well, let's do trim here. You'll notice I'm doing it in sections rather than one go because I would hate to start off right at the top, then trim all the way down to almost the bottom and make a slight mistake, which means starting all over again. Okay, now, let's do the finer points. Up until now, I've been using the asu tool. I will come down to well, let's just quickly show you these. The line tool. Draw out a line like this. Let go. Oh, it all disappears. That's nice. But if I tap do Oops. Oh, dear. Look at that. Looks like I've got a glitch in my polygons, which I do not want so undo that and come back to the right hand side, zoom in again, come back to our trim tool. This also shapes like the rectangle where you can drag out a shape like that, undo that. And that can be square if you want it. You also have an ellipse, which if you tap on circle, can be turned into a circle if you want it. But what I want is to come to polygon, and Bastbline is selected. I will come here and drag a point down to here. So far, so what? But now I'm going to come to somewhere in the middle. I'm going to drag out another point. And, oh, look at that. I'm starting to get a custom shape which I can drag out. Like this. As with other tools we've seen, if you tap on one of these control points, it turns into a sharp point. That's what I want. The bits around the outside, I know I'm just going to get rid of all of this stuff. But let's come to this point just at the bottom, tap on that, turn it into a sharp point. Come up to the point at the top, tap on it to turn it into a sharp point. Let's create another point here. And, yeah, that's come in as a sharp point. But they're sticking out a little bit too close to the tips. I want my thin bit to start off more into or further down the spine. So let's create a point here, but I'm going to tap that again to turn it into a curved point. I'll come here and drag a point here and tap again to turn it into a curve point, and we can quickly create the shape that we want. I'll create another point here, just to fine tune this because I wasn't quite getting the curve I wanted. This way, there's more of a chance. And I'm okay with the top bit. Okay, so now I've done that, I come down just to this. It's a green point. And once I tap on that green point, well, look at that. If I come up to reset, there's my fin. I will tap on my padlock again so that when I move down, to the bottom bit, I'll repeat the process. In fact, I'll say press pause. You do the bottom fin, then I'll pause it, and then I'll do it afterwards. Okay, so press pause now. And we're back. So drag out the line like this. Pull out here just to get rid of all these excess bits, tap, tap, and tap and tap again. Just create a new point here, tap it and tap again, create a new point here. The end bits are going to be sharp. I need another point here. That will naturally come in a sharp. Drag them a little bit down or further in to the fin. Then, well, I'll need one point here, tap it, turn it into a curve. But yeah, I'll go for two points there because I want Oh, I'll make that curve as well. And tweak this around to get a curve that you want. This is the line of the curve I'm creating. And with the two points, you can create some rather ugly looking curves. That for me is too straight. So, do that. So I'm getting more of the kind of curve I want. Let's move that there. But again, with tools of this type, where effectively, you're relying on a Bezier spline or a Bezier curve, you know, mass. Your life is going to be easier. The fewer points you use. But with this, again, the top bit I quite like, but as the curve comes down, it joins at the bottom at too steep an angle. So I need another point here, tap on again, make sure it's a curve, and just play around, try and find a shape that you want. And yeah, I can go with that. So as before, where's my little green spot to commit, it's right up here. Tap, come to reset, and oh, you know what? I'm not entirely happy with that. Tap to do, and yeah, these splines that you're drawing out, they're attached to the screen, not the object. So well, I could try and jiggle things around so that I've got what I had before. I'm looking at this point here, this point here, and this point here, but I'm not sure. It might be easy just to reset. Actually, you know what? No, this is close enough. I can always move the points around a little bit, because, frankly, I do not like what the bottom one was doing. Maybe I need to add another point. Who knows? Yeah. That's giving me more the curve that I wanted here. I'm trying to make sure there's not too many flat bits on this curve. I want it to be gently curving around without any sudden sharp bits like that. So it is a case of having a play. I do know that these points, which are closest to the actual fin, they need to be fairly close together tap. Then again, I got that messed up, and then maybe this one in the middle is controlling the overall curve. I think I prefer that. Now, what about this one? Nice and close in. Maybe I need another point there and jiggle things around. Do I prefer that? Come to my green dot. Commit to that and reset. Yeah, I prefer that. I'll stop it. Three fingers. Come on. Keep three finger tapping, and then come to reset. Alright. There we have it. Those are my fins. Turn off wire frame. And now I'm going to come to my cruise tool. Don't want to put too much detail on these. But with my cruise tool, select it, what I do want to do to my settings, and I've got filter chosen, not stroke, not Alpha, not fall off. Filter. And there's this button here, front facing vertex only. Well, if I set the crease to invert, so I was pulling up ridges, that would be okay. But as it is, I want to gouge bits into this. I want to gouge fine detail. And if I did it too strong, with front facing vertex only ticked on, I would start pushing the polygons I'm looking at out of the back of the shape. Pat, maybe I can show you that. There's a crease, turn the lock off the camera. Oh, no, I think I got away with it that time, but that is not a risk I want to take, so let's come back to my settings, filter, and let's turn on front facing vertex only. Let's make it quite intense. And if I do that, Oh. You see what happened? I created a groove which punched right the way through that box, and now I'm seeing a whole load of reverse polygons, which I do not want. So, come back. Turn off front facing vertex only. So now let's make it a little bit less dramatic. But now, let's up the intensity again. Now, when I punch through, there's less danger of that happening. I still want to make fine lines because I do have a very fine shape here or a very thin shape. So all I want to do is just break up the surface a little bit, take down the intensity. Where am I about 50%. I'm taking a look at this. Yeah, I'm going to need to subdivide that, I think. So I don't need it where the eyes are. I'm going to come here, because where it was in the same area where the eyes are, but it was a child of the eyes mirror. I'm glad I spotted that because that could have led some rather confusing things later on. Let's come to multi ras, subdivide. Let's come in nice and close and personal so we can see what we're doing. Actually come up with a wire frame. I lowered the opacity, didn't I? Let's up the opacity so that you can see more clearly what I'm doing. Make sure that object is selected by selecting away and selecting back. Come to subdivide, and I can delete the lower one, as well. Alright, let's zoom out. Intensity, nice and low, where am I around about 20%. Brush radius is pretty small. I just want to just add a few criss crossing. Shapes like this, what am I doing? Well, I guess that's a classic mistake. I was starting off somewhere here and drawing out. I need to start underneath and drawing out. So, yes, that's working better. Just do some criss crosses where the spikes of the fins are flowing out, what a little bit more? Take that into account when you're making your various different marks. Now, because I am paranoid, what's happening here? Yeah, great. That's working. I'm pleased about that. Maybe just add one or two breakup bits at the top to get the idea of there being some veins there. And yes, I am speeding up for various bits of this because, well, time is marching on. Okay, so now I want to come to invert, and I'm going to add some ridges in here, as well. That will help break things up a little bit. And yeah, by doing that, I've got a mixture little vales and little ridges, and that is building up more the texture that I wanted to see. I'm not using different brushstrokes here, and I'm trying to add in roughly the same amount of ridges as I have vales, and it's starting to give a texture on here, which I quite like Whoops. Let's come back and move up to the top bit. And you see I'm moving quite fast. That's because I'm using the curve of my hand. I'm right handed, and if I take my pen and I just sweep across nice and quick, like I've just done there, let's try that again. Hopefully, you can see what I'm doing. It's just a natural curve of my hand. Making these very quick strokes, quick and confident strokes, hopefully, 'cause if I start stroke really slowly and carefully, I'm not going to get the natural curve in my hand helping me make my strokes. That said. Now that I've done that, I thought, Oh, actually, why don't I just do a few whoops, come back to the right. A few lazy brush marks which swirl around just to break up things a little bit. Come to the bottom. Just a few lazy lines to break up. Those quick lines. So now, yes, I know I keep on going on about it, but I'm blending opposites I have quick, very gentle curves, and the opposite are these slower, more meandering curves. So just providing a little bit more interest here. Okay. Deep breath. And yeah, I'm getting the same result on the other side. That is all the modeling. I think now we should do some painting. Before we add some lighting. Alright, so I'll call a halt to this video now and I'll speak to you in the next one. 42. Anna 12 - Simple Painting: Alright, let's paint Anna. I'm not gonna do a huge paint job on this because after we've completed this project, I want to go back to the goblin, and I want to do a slightly more advanced paint job with that. So I'll save the more in depth stuff for that. In the meantime, let's come. Up to our shading, we need to come to lit PBR, physically based rendering. Be well, you need to be in this mode to see the paint. And by now, well, okay, we come to our paint tool. Well, let's make sure that the main body is selected. We've got our various settings here. Well, we've got lock and radius. That would be the way we do things. But we also have to choose a color for Anna, so click here. And I want it to be slightly more orangy. I want it to be kind of a reddish orange going down to yellow, and this is quite a cartoony fish, so we're going to have this pretty saturated. Let's make this a reddish color because I want to go down to yellow at the bottom. So let's get that contrast. You know, one thing I could do is it always come to my reference image, turn the pastoray up and have a sneaky peeky at what those colors are. And, yeah, that's pretty close to the color I've got here. Let's make it just a tiny touch red. Now that I've done that, come on this getting in the way, so let's get rid of that. Now, what about the roughness? I want a little bit of a shine there. What about metalness? Is that gonna make it? No, that's way too much, but maybe just a touch of metalness there. Play with the roughness. No, way too mat. You want a little bit of shine on those scales. So maybe about there and come to paint all. There's my basics, which I can add to. I'm in my lights panel. Let's clothe this up. Let's move this across a little bit. I want the environment to affect the look of this, so let's come and tap and choose another environment. First of all, pick what you think is going to work, and immediately take a look at that image. It's got dark blue at the top, and it's got kind of a fairly neutral brownish at the bottom. That immediately suits Anna better. Let's try a couple of others, and I'll play warmer colder. That one or that one. I would say colder, warmer because I don't mind the idea of light coming from below, which is kind of what we're getting. But also, I'm going to be adding things like I'm going to be adding a light. I will come down to the bottom. It's going to be a point light, and guess where this light is going to go. Well, of course, it is. You're going to get a light there. Let's come to the right. Position it. Let's come to the front and position it. In fact, yeah, it's being hidden, but can we do something about that? Let's increase the size? Yeah, that's doing the job, isn't it? I'd like that to be a white light. And already, that's doing a lot of the work for me. But I did say to you at one point, when you are painting and when you are in lit physically based mode, and especially if you turn on post process, this is going to eat up your battery life much quicker. But at the same time, if I turn on post process, immediately, that springs into life, and I know that I'm going to get some good effects with that. So here's my question. Should I paint with all of this stuff turned on? Because things like post process are going to have a huge effect on the final result, but at the same time, they're going to eat up your battery life. So what do you do? Do you paint with everything turned on and eat up your battery life, or do you paint with everything turned off, knowing full well that the look of your picture is going to change at the end? What would you do? And I think the answer to that is going to be something along the lines of. If you've got a load of battery life spare and your model isn't millions and millions of polygons and you have a fairly powerful machine that you're working on, then yeah, why not? Work towards the end result, and the end result is going to be defined by the post processing. If you have an older machine which isn't as powerful, then maybe no. Do all your paint work, then add post process at the end. Or you can do a hybrid thing, which is what I'll do now. I will turn PS process off, but I need that light on because I think that's going to be a defining light. I'm not going to add more light. I will eventually, but not now. I'll choose my object, and I'll do my painting based on what I can see now. So let's come and choose something quite a bit more orange like this. Let's come and take a look at my Alpha. Lock and radius is on. Alpha, skin zero, three large. I will put a pattern on there, but I will come to skin one A deep. Let's just double check. Symmetry is on. That's good. And let's just start building up some bits around here. I just working fast, like I said, I don't want to spend a huge amount of time on this. In fact, come on, let's make that light invisible for a second, because it's so bright that I can't quite see what I'm doing here. Actually, you know what I'm gonna do? 'Cause that's okay, as far as it goes, I'm gonna lower the intensity, so I'm building up things more gradually. I want a gradual transition here. Maybe choose add a little bit of interest onto the fishing rod or whatever it's called, a little bit on the tips. Then let's come back. I'm going to choose a much more vivid yellow. The intensi to set fairly low and just add it more to the bottom like this. Come back. Lighter yellow. So I'm just getting a gradual transition here. I'm going to come back, choose something A here. I'm going to add a little bit of detail or a little bit of a different tone just around the lip area. Again, you'll notice I'm building this up little by little. I don't want any sudden transitions here. I just want a general coloring here. Maybe a little bit just around the eye area here. In fact, you know what? I'm going to come, and I'm going to choose some bluey colours and desaturate it because it's looking a little bit too sami for my liking. Let's put a little bit of blue. I'm going to take the intensity way down. Put a little bit of blue just around the eye. Maybe just a little bit of blue, just in various bits around the body. I up the intensity because I want the lips to have various flecks of blue. Okay, I'm kind of working at breakneck speed with this. Let's let's turn on that light again, just to see how that looks overall. Yeah, it is a cartoony thing. I will turn that off maybe just add an almost dead white just onto the bottom. Just so I can break things up. These are very cartoon colors, but Anna is a cartoon fish. Final thing I want to do here, let's choose a deep dark brown roughness all the way up. But I am going to come to my Alpha mask, and let's try what's that skin 03 A deep B, 'cause I just want to draw out of the intensity some more. I just want to draw out some dots or little dirt stains like Anna's got in the drawing and also drag things out by quite a bit, so I can get in different size dots and come back, let's choose a fairly bright yellow here, but I will up what I'll lower the roughnes so it's really quite shiny, maybe lower the intensity a little bit. And add some dots to the upper part of Anna's body to break up that rather relentless. Color scheme, which we've got at the moment. Crankytensty buy rather a lot, just to add more intense areas as well as more subtle areas. Okay, you know what? I think that's about as much of a pain job as I want to do on Anna. There are a couple of other things. Let's see what about. Let's choose the end bit. What color should we do that? Well, roughness way down low. Metalness, we can yeah, let's crack that up a bit. So I'm getting a slight reflection in there, see what happens with that. Come to paint all. The only way we're gonna know what's happening with this is when we turn on that light. And yeah, actually, yeah, I quite like what that is doing. Okay, so the teeth, choose those. I want them to be kind of a bonish white. Roughness, a little bit shiny. Shall should we make it? Metal ness, I want to take that down, but a little bit shiny. Paint all for those. These fins, I'm going to come, try materials. And opaque. Do I really want it to be opaqu? What about if we change it to refraction? That will give us more transparent effect. I may need to play with some more when it comes to post process and add more lights, whatever. But let's turn these a certain color before I start going in depth with that. Let's come here. Let's choose Well, let's choos a fairly orange color. I think pretty shiny, quite metallic, as well. Paint all. Let's come back. Let's come back to our materials. So indexer of refraction, that affects how light bends when it enters into that area absorption. What that is going to mean is that the thicker areas are going to appear to be darker because the thicker areas are going to absorb more light. Let's come here and let's turn that to another color there. And I can play with the settings here. I think I'm going to come back to that when I've got everything turned on. The eyes should be straightforward enough, an early white pal roughness. I don't want it to be ultra shiny. I want to take the metalness down. But like I say, I don't want ultra shiny. I want I've got mine so to about 0.37 38. Paint all for that. And there is one more thing which I haven't done, which I really should do. Make sure this is facing right. Come up, add sphere. And while I'm here, let's come to paint and paint all come to our material, smooth shading and come to our gizmo. Make this nice and small. Move it here. That's looking sweet. And let's give a little pupil. I was going to make it as per the drawing. Really small. Come to the right. Move that around. Eventually, that's I want it to look like Anna is looking at us. And now that I've got this, let's I want a bit of a twinkle in her eye, so let's take down the roughness to almost nothing. Paint all. But now that I've got it there, actually, I quite like the look of it when that pupil was bigger. What do you know? It appeared on the other side? Because, the eye was selected. Remember, I was painting it. And so, because I created this new sphere, come on, let's name it. It naturally got mirred. Let's come to our reference image. I want to tap on it, and let's come to Import. Come to files, references, bath tile 01. This is what we used in the original Procreate work that we did. Overlay down to zero scale. So it just covers the top and the bottom, and we will use this as a basis for when we do our final lighting and post processing. That's coming up in the next video. I'll see you there. 43. Anna 13 - Lights and Post Process: Okay, so let's aim to finish this project by adding some extra lighting and also doing some post processing and generally having a play with it because adding that bath tile in the background, I find it a bit too bright. Now, I could go and look at the original file in an image editing program or just take it into a program like Proc it and do some work with it. But let's see what we can do now. Let's turn on the post process. I'm not going to turn up the sampling because that's just going to make everything pretty intense. One thing I know I am going to do it's come to the vignette. Take a look at the size of it, because I do want to get the feeling of this being underwater, so the sides definitely need to be darker. And that's already improving what I had before. And it looks like I've got the similar settings to what I had towards the end of the last project. So let's turn a few things off and see where we go from there. Well, global illumination, I want to take that right the way down. In fact, I'll turn it off because I haven't added the lights yet, but I think they are going to make a difference here. Ambient occlusion, I want that to be fairly small but fairly strong. Provide a little bit of definition. Let's call it up again. Okay, but your bias. I'm going to set that fairly low because that's really picking out things, but the strength is a bit too strong now, so I'll lower that a little bit. The bloom, I definitely want the bloom around that light. But on that score, let's come to that light and come to our gizmo, make sure the light is selected, and let's move this around, see what kind of effect I can get. That I'm kind of preferring that is looking nice. Now, the size Yeah, I prefer what that's doing now that it's bigger, the intensity, I do like that feel to it. And what about the color? A pure white light for me works. Let's come to our kelvin, make it cooler or warmer. Actually, maybe it slightly warmer. So that's about white. Let's make it a little bit warmer there. While I'm here, though, I do need to be able to pick out some more detail from Anna. So come to our lighting panel. That environment that I've got, if I up it, not so sure. I I lower it, I'm gonna lower it for now and just while I'm here, I have a quick rotate, see what happens with it. Oh, yes. Now that I rotate it to around about 279, 280 degrees, it's starting to catch some highlights on her lips and what have you. So, yeah, I prefer that, but the exposure. Well, I'll tone it down for now, add some other lights, and then see what happens. So, add a light. Let's move it around here. At the moment, that is a directional light. I don't really want that. I want a spotlight. Let's move that around. Oh, now, see when I do that straightaway I'm getting more the effect I want. It's lighting up. Underside of Anna quite nicely about there. Yeah, I do like that. Narrow or, wider. Okay. What about the size? What about the intensity? I don't want it to be blown out detail like that. Although that looks okay. Let's lower it a little bit, and let's come to our Kelvin. That one, I would like to make a bluer light because she is underwater, and so I would expect there to be if there's gonna be any light, it would be kind of blue, but I will up the intensity because making it blue lowered the effect a little bit. Yeah, I can go with that. What I will do is I will come and instead of creating a new light using the light panel, I will just clone that drag it up. That's starting to catch things in a way I like, but I'm going to move it down to the side. Let's get it. So it's facing more towards Anna like this. Let's up the intensity by quite a bit. In fact, no, let's take it so that it's more hit. I quite like that. But pointing towards her more to the side. Should I take it up a little bit? Let's play with the softness of it? No, I like it fairly hard. Can I move it a little bit, so it's just starting to catch a little bit more the side of the fin? Then turn it around a little bit more. Let's just have a play with some other parameters. The size, yeah, I'm catching a little bit more of the side there. You intensity I'm starting to get more the effect I want. But okay, look, I know I'm fussing, but let's clone that once more. And actually, yeah, that is working quite nice. So I'm gonna come back to that light that I did have. This one, could be tensity maybe a little bit more with that. But this final light, I'm going to come here, move it behind, turn it around. Oh, I've got that's why I was having problems shifting things around. I had my snap set, and I was wondering why when I tried to move things around, I wasn't having much luck. That is why silly me. Let's move this around, bring it a little bit further forward because I want just a slight Halo, just a tiny bit of light bouncing off that front fin. Let me show you what I mean. Let's take this so I can see as much as possible. If I take this and I make it invisible, all of a sudden, those fins aren't showing up too nicely against the background to turn it back on again, and yes, I'm getting it. Alright, so I've got this looking more how I want it. I will come to post process maybe up the ambient declusion a little bit. Do I want depth of field? Actually, I quite look, let's tap on the eye, and Nibla I don't care about. Actually, that's interesting. What I'm interested in is just fading out that bath tile image in the background, so it's not quite in focus, so you get the impression of depth at the moment, I think that's one of the things I didn't like about it. It was too well defined. It looked like a bath tile sitting behind a three D model of a fish, not what I wanted. Let's just choose the fish and come to clay because that gizmo is kind of getting in the way. Okay, still not happy with it. Let's come here. Let's come to our environment and maybe lower the strength of it, because at the moment, things are getting so flooded with light that I'm starting to lose any sense of depth to this. Let's take this down a little bit about there. That may be a little bit lower. Coming out again. Let's come to light one. Let's come to our Gizmo. Let's move this down. So that more of the underside is lit, maybe move it a little bit. Yeah, I prefer that. More of the underside is lit there. I'm just playing here. Maybe if I change this back to directional, maybe have it facing upwards over slightly because I'm getting some too deep shadows in one or two areas. Take the intensity down, so there's a little bit of light there coming from it, but not too much. The angle, if I increase that, I can soften some of these shadow areas. Yeah, that's starting to get close to how I want it. Let's take a look at this material here because that's not really working, is it? I'm gonna change that to a subsurface, take the depth way way down and up the translucency. And I'm going to try. See where it says, glossiness and roughness. I want to take the interior and I'm going to drag it up. That's giving me more the effect I want. What about the surface? No, no difference there. Smooth shading on. The absorption. Yeah, let's fiddle with that to get more the kind of effect I want. A Nix of refraction isn't make much of a difference. Let's take a look at my absorption factor. If I take that down a little bit, I'm getting more the kind of glow that I want. And let's come back. Let's make sure the fin is selected. Come back to my paint, tap on my eyedropper, tap on the object. That's what I've got at the moment. Maybe make it a bit lighter and come to paint all that just to lift it up a little bit. So it wasn't that dark image that we saw before. Then come back to post process. Depth of field, far bl, Nibla yeah, okay. Go with that. The bloom. Let's take down the bloom intensity a little bit, the radius. You can't really see this until you see the stronger light sources. I'm working blind here. Come on. I like the bloom, but maybe take the radius down a little bit more to apply it. The threshold, we need to play with that. Oh, I quite like that. Let's go for something completely over the top, shall we? And one thing is bothering me here four columns wide. Come to trim, the sewer selected, get rid of all this excess stuff, which is living inside Anna choose something apart from Anna, just so I can see the whole thing without the outline there. And I'm getting close with this. I think maybe just take a look at the eye, come back to paint. Tab on my eye drop atol, choose the eye because I think that's looking just a little bit too bright. Let's take this down a little bit. Yeah, that is helping me. Paint all. Let's come back, try to only on tone mapping. But let's reset everything because I've got it from my previous model. Non neutral AGX no, ACES or neutral ACES. I prefer that. A little bit more contrast in there to make it a little bit more cartoony. Color grading. Let's reset what I've got here. And let's take a look at the main area of the face for this. Jiggle that around. I'm finding lowering the mid tones, which is lowering the overall brightness of the picture without affecting the highlights and dark bits, too much is working. Now, if I come to the red channel, if I play around with that, you can up or lower the red. Yes, lowering that red is definitely helping me. I prefer that. The green upping the green or lowering the green. Let's try resetting yeah, maybe lowering the green just a tiny bit to get a little bit more blue in there. And what about blue? You've seen me put a.in the middle like this. I'll reset the blue channel. I can also do things like this so that the lowest tones get more blue in there. You can also see me altering the endpoints like this and in fact, moving that along there. Yeah, I quite like that. Curvature. Oh, let's give it a try. For the cavity. Let's try whoops. Let's try a deep red, and gradually cub the cavity. That's way too strong for my tastes. Maybe leave it in just a little bit. Now, what about the bump? Let's try a nice bright yellow for that. Oh, actually, I quite like what that's doing to the scales. The highest, bumpiest bits. I prefer that to be a bit more orange, though, I think. So yeah, okay, I'll go with that. Chromatic aberration. No, I don't want that. A cavity come on that takes down a little bit more because I don't really like what's happening in some areas. All the rest, grain. I'm not bothered about grain. In fact, I'm not bothered about any of the others. Let's move this across like this. Can I do a couple of final tweaks to this? Oh, let's come to the light above. Can I up the intensity for that a little bit? Yes, I quite like it with the intensity cracked all the way up. I will say as New Anna oh seven finished. Because, yes, I would like to carry on tweaking this, but time is moving on. That file will be available for you to play around with. Let's come to render. Let's render it at screen size. In fact, no, just before we do, now that we're ready to do a render, come to process, come all the way to the top and take the sampling right the way up so we get a more decent image. Then export PNG. There's Anna the angler fish. And already, I'm looking at it thinking, Yeah, I'd like to change this. I'd like to change that. Okay, a very quick update. After I had finished the video, I decided I didn't like the effect I was getting with Anna. So I went back in and tweaked a few things, and I will attach that nomad file to this video. This is the PNG I rented out. I will come up and tap where it says, Done. Oh, for some reason, it's done this for me. Right, turntable. Quick on turn table. You can take a look at Anna from all different angles. Now remember, I wanted Anna to be seen from this side. So all the lights are behind, so you're getting a rather different effect from the other side, as you can see. So this is your turntable animation, which sometimes you'll see on the forums. To stop that, just come up to the top left corner, and there we are. Let's turn that around, tap on right on the snapcube. Okay, the changes that I made. Well, the main ones work. The eyeball I changed that so that instead of it being opaque, I changed it to subsurface. We will take a look at that in a video coming up, but basically what subsurface does is models what happens when light goes through an object. Like if you were to hold your hand up to a bright light source. You can start to see the light coming through your hand, and it takes on a reddish glow because of the blood in your hand, that subsurface. I also changed the fins. I was just not happy with the bits in between the spikes on the fins. I just painted those over and, in general, had a playound with a lighting plus various settings within post processing. And so I ended up with this and I prefer the look of that to what I had before. Okay, so I did do a simple paint job with this. And so I think in a video coming up, we're going to revisit the goblin that we did, and I'm going to paint that up using slightly more advanced painting techniques. That will be coming up fairly soon. And in the meantime, I hope you enjoyed modeling Anna. I hope you enjoyed painting Anna, and I hope you learned a lot from the project. 44. Quad Remesher, part 1: This is Goblin version 02. It is available for you as a download. And I'm hoping that you'll recognize it from an earlier tutorial that we did. That would be the first tutorial we did. But once I'd finished recording, I took a look at it, and I decided I wanted to work on it a little bit more. And one of the things I did was to turn the symmetry off. When you get to a certain stage with your model, unless it's some kind of machine, maybe, it is a good idea to turn the symmetry off, and that is because no creature is entirely symmetrical. Well, maybe I should say no humanoid creature is entirely symmetrical, because I might get some te biologists saying, well, this creature is. But humanoid, no. And it's not big differences. Look, if I zoom right up close and personal on the nose and mouth area, that nose is slightly lopsided. And if you take a look at the creases in the mouth, plus the shapes underneath the mouth and the chin, they are ever so slightly lopsided. But also, I've added things like wort because, well, this is a goblin. On one side of the face, but not the other, that also helps to break up the symmetry. Not by much, but People looking at your model. Chances are, unless they're a three D model of themselves, they won't go looking for asymmetrical features. But the fact that those features are there is going to help convince them that what they're looking at could exist in real life. Okay, so I'm going to use this model for a couple of things. One is for a more advanced painting tutorial than we've done so far. But for this lesson, I want to talk about the tool I am currently highlighting, that is the quad remeasure tool. Which is like Vox or remash but basically better depending on what you want to do with your three D models. Now, here's the money stuff. Unfortunately, this is not available for the Android at the time I'm recording this. It is available for the iPad, and it costs around I think about say $20 if you're in the States Look, prices are going to vary, but maybe about 18 pounds if you're in the UK, so maybe it will be a similar price in euros, and you have to pay for it to get it. So let's see what it actually does. First of all, I will turn on my wire frame. I have a total of just over 2 million vertices in this scene. So that will be the head plus the eyes, but mainly the head. And you can see it's a pretty fine mesh. And also, if you take a look at it, maybe you can see this, maybe you can't don't know. But that mesh is going basically horizontally and vertically. I turn it around. Yeah, I'm getting variations of horizontal and vertical. What that mesh doesn't do is follow, say, the line of the nose or the wrinkle on the side of the nose as it goes down to the mouth or the shape around the lips. And sometimes that can mean putting new lines in like new wrinkles or when I was working out the shape of the eyes. Sometimes that can make life just a little bit awkward because you want to do a line that goes one way and you have a line of polygons going another way, and it doesn't always look good. Alright, so wire frame off? Let's turn on Quadri masher. The color of your model will change into what Quadri meshing mode, I suppose. And the bit you are looking for to start off with is, well, if you tap this icon here, quad remeasure will work out the volume of the model and give you a model of the same volume, but within this case, 489,000 quads. Or if I wanted half the quads which are in this model, I would go to half or if I just wanted a straight remesh, I might come to same. But this one here, hopefully you can see I've got two little arrows there, and I can move this around like this and choose how many quarts I want for this. Oh, 1 million maximum quarter. Interesting. I'm going to take this down. Let's take this down to say 100,000 quads. So that's what roughly one 20th of the quads I have in this particular iFrame mode. Now, this is going to take some time, but I will click on the hundred K. This is an iPad M four, and you can see it taking it sweet time. I will fast forward, shall I? No. If I zoom in on, say, the eye area, look at that. Instead of my polygons going up and down and side to side, they are now following the contours. Of the model. Look at that mouth. Look at the way the lines of the polygons are swooping around. This model has a much improved flow of polygons, and you will hear three D modelers talking about this all the time, the flow of the polygons. Now, why is that important? Well, for the reasons I mentioned, this would probably be a lot easier for me to sculpt with because the flow of the polygons is actually following the face. This is great. And supposing I wanted to take it back to this level of detail, which, well, you can see, it's a lot less detail than what we had before. That's because it has one 20th of the polygons or quads. But one thing you can do with this, for example, once I've got the flow of the polygons looking all nice and how I want them, then I could come to my multi ras, and I could subdivide, and I could subdivide, again, that's 1.5 million polygons. That's half 1 million polygons than we had before. But I could start sculpting with that, and I'm much, much less likely to have problems sculpting in the various different creases around, say, where the lips join, or the wrinkles or the eyelids or what have you. Now, let's undo this a couple of times to what we had before. That is quadri mash in a nutshell, but we can do more. One quick tip, though. Do you remember a few videos ago we were talking about face groups? Well, with this, there was only one face group. If I had different face groups and I wanted to do a quadri mash, this did like on here where it says, relax. That is a slider. My advice to you is to take that slider and slide as far to the right as you can go because phase groups have edges. Normally, when you're modeling, you don't really see them, but quad Masher does. And so sometimes you can get glitches along the seams where one phase group meets another phase group. So relaxing the pace groups that can help. Anyway, let's come back to Quadri Masher because well, it's all very nice that I can re mash this, and this is really useful for either sculpting things with better edge loops. There's another phrase for you. And that's the way the edges of the polygons loop into different areas. Also, if you are planning on doing game design, this head is just over 2 million polygons. Imagine if you had a whole body plus armor, plus weapons. You're going into the millions and millions of polygons which a game engine simply cannot handle. You have to reduce the amount of polygons you have so that your wonderful model and the wonderful game engine are going to be friends. Also with those edge loops that we saw, Nomad sculpt doesn't have animation features. But if I'm going to export this model into a three D package that does like blender or three D max, then the flow of the polygons is going to make a difference. If they were just straight up and straight across like they are in this model, it would be hard because when you deform the three D mesh because you have to deform it to animate it, like when you bend an arm, deforming with a bad edge flow is awful. Deforming with a decent edge flow like quadri mesh it can give us, that will make a big difference. So those are the two main reasons why you would want to invest in quad re measure. Better edge flow for modeling or saving hours and hours and hours when you need to re measure your object for animating. Okay, so that's the basics. But I've got an even spread of polygons around the facial area, plus say things like the back of the head. I don't need nearly as many polygons for the back of the head as I do for the front of the face. And there are certain areas like around the eyes and around the mouth where I could really do with a lot of polygon detail. So, you come over to the left hand side. Look at this dot density. And I can alter my brush size like this and I can alter the intensity. So what I'll do is I'll crank this all the way up to 100%. I've got symmetry turned on. Let's make the brush slice a little bit smaller, and I can put in bright red makeup around the eyes and around the lips. These are the bits where I want the most polygons. As I said before, anything which looks like a creature, people will look at the eyes, then they'll look at the mouth, but it's mainly the eyes. So that is where you want the most amount of detail. I'll choose the same amount, tap on 100 K. Let's turn on wireframe. And let's come to another tool, shall we? Right now, you can see, I've got a lot of detail around the eye area, and I have a lot of detail around the mouth area. But now look at the bits where I just left blank. They are much lower levels of detail. That is why you would use the density. But I've got a bit of a problem here. Look at this. That's looking a little bit stretched. Let's turn off wireframe, even with the wireframe off. Yeah, that's looking a bit stretched. It didn't like that. Let's undo and come back to quadri masher. One thing I found when using quad masher being able to specify the density is great for the reasons we've mentioned. But I find if you have a very dense area right next to a much less dense area, that can sometimes lead to well, quadri measure not being too happy. So what I'd suggest you do is define your areas. I want the decreases there. Then I will drop the intensity down. Let's take it down to say about 80% and have these red areas surrounded by what's still pretty intense. It's still 80%, but it's not quite as intense as it was before. And when you do this, it seems to give quadri measure a little bit of a better guide as to where you want your polygons. Let's take it down to say what around the 50% mark. Do this. Oh, well, maybe I should have done those at slightly higher density, but I'm not going to worry about that. Now, it is a little bit tricky because this particular intensity is quite similar in color to the default color that I'm getting with quadri Masher. So there's always a risk there that you end up missing a little bit. So you have a little island of low density in a sea of high density. If that makes sense, you really don't want that. I take the intensity down some down to 30%, and you can see the less dense it is, the bluer the color becomes like the back of the ears. I don't really need much detail there. It's up to you. You decide what density you want. And then I'll take the density way down low. I could even take it down to zero. But you can see I get these brighter colors. It's bright blue for pale and interesting. Now, 'cause I've worked very fast, probably missed one or two areas. Oh, definitely. The other side here, which is just redundant polygons. Well, yeah, of course, that's gonna be extremely low density because, well, people are never gonna see it. Oh, there, see that. I've got a little island of higher density in a sea of low density. Quadri measure is not gonna like that. Okay, I've worked a bit faster there than perhaps I would have liked. Let's come to smooth. Alright. And if I come to say this border here, and I start scrubbing away, come on crack up the intensity. Yeah. Hopefully, you can see this. I'm starting to smooth out the borders between one density area and another. Again, this should help quadrumasa work out things because I don't have that very hard border that I was talking to you about when I do this. Oh, come on, it's really crag it up. Okay, I faded out and faded back in again because you watching me scribble and smooth is not that educational, but let's take a look at this deep breath. And I don't mean that for you. I mean that for me because quadri Masher is great, but it can sometimes be a little bit predictable. You have to work with it, and even then, sometimes you'll find one or two surprises. So, still on 100 K, tap on that. Alright, that's come through. Let's turn on the wireframe. Let's come to another tool, so we can take a look at this. Yeah, you can see, I'm still getting one or two little areas here, which I'm not too happy about, but let's comp Smooth Tool, and that will smooth out, except that you will be doing a little bit of smoothing afterwards sometimes. And this case maybe you want to come to relax, which does a very similar thing. To smooth, but presumably using slightly different algorithm. That aside, if you accept that, yeah, you are going to be doing a little bit of smoothing in one or two areas, that has done a pretty good job. Take a look at the tips of the ear. That was extremely low density modeling. And it has done a reasonable job with that. You can still see some smoothing needs to be done around there. One possible reason for that is that the fewer the polygons, the more you're going to get these kind of mistakes. But big picture. I still have a much better topology than I did. I've got plenty of sharp detail in the areas where I need it. That's the eyes, the mouth, and what have you, and much less detail in the areas that I don't look around the back of the head. And that topology is actually very, very neat. That would save me hours. No, I'm sorry. That would save me days if I was developing models for a three D game. Now, what a lot of designers are going to do that will use something like Quadri measure, which is available on different software, and then they will go in and reopologize by hand. Now, I don't know a way to do that inside nomad sculpt, but in other programs, yes, you can. 45. Quad Remesher, part 2: I am going to undo a few times, get rid of those smooth, step back, come to quadri Masher, take off my wire frame. So I was about there, wasn't I? Because the other thing I want to show you is, well, you can use two tools here, you can use Curve path, I suppose, rectangle, though, I never used that. I'm going to come to curve. I don't want it closed, what I'm going to do is come close. I have a symmetry turned on. Okay, but this model is not entirely symmetrical, but I will use it for now and see how we get on. And then I'm going to come to this brow here and I'm going to draw a curve. But do you remember I had a not very nice mesh on the ears? Well, I'm going to put a guideline there. What I'm telling Nomad or what I'm telling Quadri measure is when you work out your topology, and you're doing a great job, by the way, I want you to use these lines that I'm drawing as guidelines because I wasn't keen on the topology of the curve that ear, maybe we can improve it. And so you put in your guidelines like this in the areas where there are creases anyway to really send a message to Quadri Masher that these are the bits or these are where I want the creases. It's been very good so far working stuff like this out. But I'm giving it a little bit more of advice. I don't like the curve of that, two finger tap to do that. It's 'cause I'm talking and working at the same time, a little bit here in the middle. And being able to do this is very, very useful because whilst quadrmesure does do a pretty good job of figuring out the flow of the polygons and giving you something which is more useful for you, this gives you an extra bit of control. Now, I've put a few lines in there. Around the chin area. And do you remember me saying that when you're doing game design, you really need to worry about the topology because you're going to have lower mash models and be able to specify where you want the lines of the polygons to go in areas like. Where the arms bend or where the mouth open and closes. That's got to be useful. Alright, let's try this once more. I'm not entirely happy with one or two of these lines, but we'll go with this. Alright? Time is marching on. Again, 100 K. That's our target. Er, remeshing failed because the symmetry is bad. That happened on one particular bit, but it's carrying on let's take a look wire frame. It's going to be a little bit of cleaning up. Having said that, with those guidelines, that little area in between the eyebrows has much improved. And take a look here. The top of that here, the topology again, has improved. Again, there are one or two areas which I want to smooth out. These areas here. These areas here. Well, there's a bit around here, which I'm not too keen on as well. That's something I would need to work on again, I think. But you did see at one point, it said symmetry failed. Then it went ahead and carried on with what I was doing, and it's given me a pretty good result. That's 100,000 polygons. That's a 20th of the detail that we had before. Smooth is way too powerful though let's take down the intensity a little bit. Just gently smooth this out. Maybe a little bit around here. You can see when I'm smoothing it out. It's like the polygons kind of relax and kind of sort themselves out. To a certain extent. And after a while, you start to get a feel of what might be the troublesome polygons. Like, there was a certain bit around the ear. I was thinking. That could give me problems later, but look at the way those polygons curve around that ear. That would take me hours. If I was doing that with a traditional tapology program, I just relax a little bit, because, well, you've seen me smooth out various different areas, which I wasn't too happy with. Because now what I'm going to do is come to quadri measure and do the same thing again. Come to smooth. And if I come to one or two of these areas which I did smooth out? Because I smooth them out and then basically asked quadri measure to do the same thing again, but with the smoothed out areas, it's almost like you're telling it, Look, do the same thing again, but just concentrate on these areas a little bit. Now with the ions plus the density, especially, I've done a bit of a stress test with this because I wanted to show you one or two problems. If I was working on a model, maybe I wouldn't take the density from maximum to minimum. And maybe the curves, I would spend a bit more time putting in some more curves. Well, no, what I would do is I would put in, say the amount of curves we've got. Then I would do my quadrmuse, check the mesh carefully for any problem areas. Then undo what I've done, go to those problem areas, and maybe play with the density and also maybe add some more guidelines or maybe alter the guidelines. That is the quaran measure tool. That model is now one 20th of the amount of polygons, and the topology is so much better. Now, if all you're going to do is just create models inside nomad, that is great. You can light them. You can put them on forums. You can use your model as a basis for, say, some Tod art because one of the big things about doing Tod art, you need reference pictures. Well, if you can create models like this, you can make your own reference pictures. And there is nothing you can't draw because you can light it the way you want. You can color it the way you want. You can make it black and white if you want. And so become efficient in a three D package like nomad sculpt. And you need never worry about finding references for your two D drawings ever again. Okay, let's move on. 46. Paint 01 - Basic Setup: For our final project, we're going to take this goblin head, which we created as our first project, and which I've gone back in and I've refined a little bit further, and we are going to paint it, and we're going to light it. And along the way, I'm going to show you some, shall we say, quite standard way of doing things. But I'm also going to show you one or two things I'm confident you will not have seen before. And eventually, we will end up with something that looks like this. That said, you are going to see so many different possible variations by the end of this tutorial. Anyway, let's move on. This is Goblin version 02. And if you remember, it's available as a download from the Quadri measure tutorials. Well, let's get painting. Well, the first thing is, at the moment, we're in McCAp mode. Well, you can't do any painting in MacCAp mode, so you come to it PBR. The next thing, I have supplied this to you with a material already applied. Now, up until now, we've been using a simple opaque material, but next to it, you've got something called subsurface. Do you notice that slight change? Opaque subsurface. Now, subsurface, that is where light doesn't just bounce straight off the surface of the object. Instead, some of the light will sink into the surface and light up whatever is underneath. And for that, think of, say, ana in sunlight. When you get sunlight shining through it, sometimes you can see some of the blood inside the ear. That's because the air is thin. Some of the sunlight manages to push its way through. That's the principle of subsurface scattering. Now, at the moment, the color of that subsurface, if I come to where I'm circling and tap, it's set to a kind of dullish greenish color. That's because I was going to make this goblin head kind of a green color. But I think I make it more human in color. In which case, I'm going to move, can you see? Let's see if I can make this very obvious. I bring up the depth, and you're getting a very waxy like surface there. And then if I alter the color and I make it more intense, now you can see very clearly what's going on there. See? That's a very red finished, green, blue, whatever you want. You can play games with this. With it set very intense like this, I'm going to choose a color. I'm going to choose kind of an orange, reddish color. Pat there. Then I'm going to come back, and I'm going to take the depth down because that is just way too much. Let's take it down there, just so I've got just a hint of that reddish orange underneath. The second thing I'm going to do is I'm going to make sure my head is selected, I'm going to come to my paint tool. I'm going to open up the second icon along the top, and I'm going to set a base color. I want something very neutral, and I'm going to be building on top of this, but one thing I am going to do is take the roughness way up high. This will be the default value for my skin. Let's move it around a little bit. Like I said, I'm getting a very muted color. I'm gonna be putting colour on top of this, but I want this to be my base color. And I think we'll go with what I've got there and come to paint all. The next thing, I'm going to come up to my lighting because up until now, I've been using this particular environment after Lounge one K. I'll click on that. I just want to see what kind of lighting I want to use when I'm painting my model. Because with this, well, look, I'll show you. I I come to the one underneath, that's giving you a different effect, and it's a nice looking effect. I like that effect. But I'm finding the color tone is just too saturated. It's too yellow. When I'm painting this, I want something that looks just a little bit more neutral so I can judge my colors a little bit better. What about the one to the top and to the right? Oh, that's not bad. Quite like that. Let's just take a quick look at some of the others. Eh, colder. Back to warm. No, back to warm. Definitely colder. Back to warm what about the ones down the bottom. That's quite nice. And I've got a feeling that the one underneath. Yeah, that looks nice. That's very evocative. I'm thinking Goblin underground creature. That has an underground feel to it. That one, no. So it's a choice between that one, vintage measuring Lab one K and the top one. Artists Workshop one K. I will go with the top one because it is more neutral in color. And I think that would suit me better when I'm painting my base colors. Actually, let's just come back to it, and shall I take a look at the exposure, B I think it needs to be a little bit brighter. I mean, like that, it's evocative, but it's a bit too dark for general painting. So, somewhere around there. I've got somewhere not 0.62 36. It doesn't matter. Bright enough that I can get a feel of what I'm looking at. Now what about the rotation? Let's take a look at that. That's quite nice. That's giving me an idea of dark and light. Can I take a look at it from Woops. I got the w one. Take the exposure back down. Somewhere around 0.6 mark. And yeah, I quite like that. Et's have a quick turn around. That's giving me enough of a highlight and enough of a shadow area so I can judge light and dark. So yeah, I'll go with that, so just so you can take a look at that again. Exposure about 0.62 rotation. I've got about 266, and the environment is Artists Workshop one. I will save what I've got. I've pre saved this as gobbling Version 02, finished, which is a different filename to the one you've got. I will paint on this, and then when I finish the project, I will attach gobbling Version 02 finish to the final project in this series. Alright, so already, that's looking quite nice. Now, I wonder, I'm just doing a quick preview of what's gonna happen because if I come to my quality and come to post process, and yeah, I like that, as well. What's happened is, I think the only thing I have switched on is ambient occlusion. Remember? That thing which makes it so that all those little wrinkles and nooks and crannies of the face, that's where light is going to die. That's like the elephant's graveyard, but for light. So just checking that quite like that. Okay, so for this video, I just got things set up. In the next video, I don't really like those eyes. They're a bit solas. So let's do something about that. 47. Paint 02 - Import the Eyes: Okay, so in the previous video, I said, I don't like those eyes, so I'm going to replace them. Come up to your project menu. Come down to where it says Import. I have a list of files. I'm supplying this file for you as a download. I want DC eyeball noms and nomad file. Come to there and open. And now you get a choice. You can either create a new project with this object in there or you can add to the scene I'm going to add to the scene. And there's a very big eyeball. If I come to our scene menu, I've got two new things here. I've got outer plus inner because this eyeball, it's one I created earlier. And it's coming way too big. And also, I think it needs a couple of things doing to it before we do anything else. But this is an eye, one I created earlier. And at this point, you may be thinking to yourself, What? You're just re using something that you've already done before, to which my answer is, Yes, you have seen just some of the things you can do with three D modeling. You can create some quite amazing models. But here's something for you. Why would you bother inventing the wheel every single time? If you have an asset like an eyeball, which we do have. Absolutely, you use it again. I remember about 30 years ago doing a light wave tutorial. And it was a satellite in space. And I remember the instructor at the time, said, most of the parts of this space satellite I stole from a previous project I did which was a vacuum cleaner. It can take a long time to create your models, so absolutely use them on that score. If I come to the project menu, and I come up to this thing right in the top cornical preset, oh, look at this. This comes with procreate. You've got a whole load of heads there, which you can modify and adapt to suit your own purposes. You have a whole load of bodies. Skulls, solo female, solo male, hands realistic and stylized. The jaw with all a load of teeth there. Absolutely, use those. Change them, adapt them for your project. Life is too short to do anything else. Anyway, end of rant, back to the project. Let's come and take a look at what we've got. Let's select just the inner because I think that we need to come to our materials. Smooth shading is on for the inner. Have I got that right? What about the outer? Here we are down the bottom. Smooth Shading, turn that on immediately. It looks better. Let me just double check that inner part of the eyeball the outer bit, that's the glassy bit. The inner part is where all the painting is on. Just let me double check that because I'm paranoid. Yeah, that's all okay. So now what I need to do is come to the inner and drag it up until you get that little line, which means the inner eyeball is the child of the outer eyeball. The next thing, I'm going to come to the head object, where the little eye is, I'm going to click on that to make the head invisible. So now I can just match up this eyeball with the two placeholder eyeballs we already had. To do that, I will take my placeholder eyeball. I'm going to drag it out of the mirror which it was sitting in. So it was just there on its own. And because I do that, the mirrored one, which was on the other side, that disappears. So I'm going to come to outer, which means both the parent object and the child object are selected. I will come to the front. I will come to the outer ring, which is turning yellow to scale the whole thing down. Let's pinch in a little bit, yeah, too small. Come to that yellow ring again, make it bigger. In fact, let's drag this so it's sitting Well, at the moment, it's sitting inside our existing eyeball, let's try and get really close and personal with this. I wonder what happened for a second, though. I thought the smoothing that I turned on had suddenly turned off again, but no, this is the original eyeball that I'm looking at, isn't it? Let's take that to about there, move it to there. Let's take a look at this from, from the right. Move that forward. Ah, now. Yeah, that's giving me a much clearer idea. So yellow outer ring to scale this down. Make it fit here. Let's make it so it's just big enough that it just peeps out from my placeholder eyeball. Let's take a look at this from the front again and just move it. So it just my iPad is doing some strange things at the moment. Come on. Behave yourself. Tap on the front. Come here and move that so that, yeah, that's sitting pretty much exactly over the old eyeball. So now what I do is I come back to my head, make that visible. Let's make the old eyeball invisible. And straight away, you're getting this. Now that I've done that, which is looking quite a bit better than it was before, let's do a couple of things. I want to move it out a little bit. To about and maybe, yeah, move it back a little bit. So it looks like it's sitting in there because the shape is slightly different. This eyeball, which is more detailed, it bulges out slightly, so I'm taking that into account. Also, maybe move it up just a little bit. So that I've got an upper and lower eyelid area. Maybe you move it back. I'm doing a bit of fine tuning. Yeah. Maybe about there, I'm going to come to my old eyeball, which I no longer need. I'm going to delete that. I will take my outer and inner eye which are child and I'm going to drag it, so it's sitting inside the mirror. Actually, you know, let's move this along so you see clearly what happens when I do this, come back, take my outer and inner, drag it to where the mirror is so that they become child of the mirror and when I let go. Because they are child of the mirror, it gets mirrored on the other side. Now, are they a little bit big? I'm going to make them tiny bit smaller. And I'm looking at the on the left hand side because my gizmo, which is what I need to move things around is kind of obscuring a little bit what I'm doing. If I just look on the other side, let's go with that for now. The next thing, I want to tap away, tap back. What I want to choose is the inner eye, 'cause that's where all the painters and come to my paint tool. Come up to the little paint brush because this is where the colors are defined. Now, don't get me wrong. I like brown eyes. They're the most common eye color in the world. But I think for a goblin, I want something looking a little bit colder. So well, I suppose the first thing I should do is check what I've got on my settings. If no, what I'll do is I'll tap on my paint icon, and I'll come to the bit just above where it says reset. And when I do, Everything resets to its default values, so let's start again. I think for my Alpha, I'm going to come down. I'm going to use this one which I supplied a few videos ago, skin 01 a deep. That will give me a fairly uniform color with just a little bit of variation in the paint stroke. When we are painting, well, at the moment, it's set to dot. Let's make this a lot smaller, shall we? And there you go. There's the paint, but I don't want that. In fact, just for the eyeball, just to mix things up a bit and show you something different. I will stay with Dot for now. For my Alpha, I'm going to scale it up a little bit. And let's come to a paintbrush. Choose the color. Now if I have the color for this, I'm going to choose kind of a grayish, bluish color. I'll make it fairly desaturated like this. For the roughness, no, I want this to be a little bit shiny because I'm going to be painting the iris, which is a little bit shiny. Maybe about there. I want to take the intensity way down. And I was gonna come here and I was gonna put in just a series of circles like this. I suppose I could turn on the radial array with this so I could paint with ten different dots at once, but I'd rather do it just by making circular motions with my hand, so it's not quite even, so it's a little bit rougher. Okay, let's try putting in a little bit of green in there in one or two areas. You doing little taps? Oh, now. Yeah, I went to the outer, make sure the inner is chosen. Keeps on doing it. Tell you what, come here. Let's turn the out a bit off. Maybe that will help. And I'm just gonna keep on adding different colours, very different aansits Come to some yellow colors. Maybe make my brush really small and maybe have some of that yellow just around the outer area as well. Just doing a little strokes. But one thing I will do let's come and let's choose something muckier deep version of it, yellow just around the outside here. One thing I will do as well is choose kind of an orangy reddish color there, potentially way low. Bring it by radius, and I'll start to add just a little bit of No, no, not the head. A little bit of orange to the side. Of the eye on both sides. Whoops. I started painting into the actual iris there and make that smaller. Alright, let's take a look at that. With a shiny bit on the outside, matt on the inside, shiny on the outside. That's giving me more the kind of eyes that I want for my goblin. Okay, let's call a halt on this for now, and we'll carry on. No, go on. Guess where we're gonna carry on. Yep. The next video. 48. Paint 03 - the Underlayer: Do you remember a few videos ago we used something called layers. We used it on the pumpkin to alter the shape of the pumpkin, but it allowed us to have the original shape of the pumpkin, the altered shape of the pumpkin, and anything in between. We're going to use them here to create an undercoat, which is going to look very gaudy, but it does work. Let's make sure the head is selected. Then I'm going to come up to my layers panel. I'm going to add a layer and I'm going to give it a name because we're going to be using more than one layer. Let's call this base Coat. Alright, so our paintbrush is selected. Let's come up. And okay, I'll use the skin deep. That's fine. But for the stroke, I'm going to change this to lock and radius. When you're doing painting in general, lock and radius is a good one to use because it lets you drag out a texture rather than a solid brush stroke, but we've spoken about that before. For our Alpha, skin won deep, yet, that's fine. I just want to cover areas here. I'm not that bothered about texture. So let's come up and choose a color. In fact, that color that I've got there, that's fine. And I'm going to make sure the roughness is set high as well. So far, this is looking very, very matte. Not shiny. But in one of the videos coming up, I'm going to show you how you can use layers to really control the shininess of your model. Okay, so intensity, well, we're not going for subtle here. I've got that bright color, and you put them on Areas of the body where you have bright colors. That's gonna be areas around the nose. What, in this creature, it is. The ears, yeah, definitely. Ear lobes, yes, definitely. And the side of the ear. Yes, definitely. I'm sorry my intonations getting a little bit semi. Not to self. Try and sound a little bit more interesting. The cheeks, yes, definitely. The lips, let's do the lips, as well. For the lips, you know, fairly sharply defined areas here. So far, I've been doing What am I doing? I accidentally press transformer. Oh, come on. Let's do that. Okay, and back to my head painting. Make sure my paint tool is selected. I want this to be fairly close to the edges of were I'm painting. Now, you may have been looking at this thinking, This is practically a bad day in the makeup salon. You could be right. But the thing is, all of this stuff is going to be covered over by another coat of paint. This is the undercoat. First time I started doing this was when I was a teenager, and I was painting those little metal figures that you get or plastic figures. And pretty soon you realize that you can create an undercoat. And then you paint over the top of it, and the undercoat affects the colors which go on top of it, but hopefully in subtle ways. But it's even older than that, this technique. Has anybody done any oil painting where you've done an undercoat? Let me change this color just a little bit. I want to be a little bit more pinkish. And then on top of the undercoat, where you'd paint? Well, I've done that myself with oil paints. You paint a blue and white or a cyan and white version of your painting, and then you use a series of thin washers on top of it to build up a very layered surface. And you can just see bits of that blue or cyan just peeking out from what you were working on. And it creates some very subtle effect, and that's what we want. And now I'm going to choose very bright yellow like this, and I'm going to plaster it all over the forehead, and you're going to say, you're doing what? That is because, well, the forehead on the top of the head, the bone is very close to the surface of the skin there. And when you get the bone close to the surface, you're going to get more of a yellowish feature there. Also, I might apply some just down to the bottom around here. No, it's not subtle, is it? And if I think that's outrageous, I'm going to come back, and I'm going to choose amid to deep blue, fairly desaturated, and I'm going to do the chin area in these colors. At which point you may be thinking, Oh, bless Simon, he's lost the plot. No, there's a definite reason for this. And when you look at various images of underpainting like this, it's a very common thing to see that the lower part of the face tends to be blue, especially in men, because of the facial hair. Either just showing through or design a stubble. I'm also going to put some underneath the eyes because you're going to get some well, black or dark rings around the eyes like this. Well, let's put a bit in here, as well. I've covered most of the surface with these colors. And I'm not worrying about the fact that this isn't entirely symmetrical. Oh, that puts him in that crus area there. I've just come back. I want to create a nice kind of lightish orange area just around the ears and fat. Let's make that even more red and even more bright. 'cause you'll get different subtle shades in different places. And I think that, let's do a little bit of this orange on top of the ear, as well, let's do the unfashionable bit of our model, you know, the back of the head. Let's try let's try straight up white for this just in one or two areas, maybe around here, when the bone is very close to the surface, I'll have something very bright there. I've taken the intensity down just to create a very light effect on the top. Just try and blend this in as well. For this, I don't want any sharp borders. I want this all to be fairly smooth transitions. Let's try a little bit just there. Just where the bone is pushing against that cheek. There you go. Beautiful. Actually, no, let's touch just in the forehead area because I want to choose some of that lighter color. Just put it in here a little bit. And I think that will do for me for now for my underpainting. Let's maybe put a little bit under here just to make things up a little bit, be a touch there. Okay, so it's a little bit of a bad date with the clown makeup, but here's the thing. That is all on one layer. Look, I can make the whole thing invisible and visible again. And what I'm going to do now is I'm going to add another layer and I'm going to name this skin. That is the layer I'm going to be putting my various different skin tones on. And as I build up this layer, you're going to see this layer interacting with that layer underneath. This gives me a huge amount of flexibility because for one thing, if I decide I don't like those base colors underneath, I can come back to my base coat layer, and I can alter those colors. I can also alter how much of an influence that base coat is having. And similarly with the skin layer, I can knock it back you won't see anything at the moment because I haven't painted on the skin layer, but when I have painted it, I'll be able to draw that back. And the more I draw it back, the more of that underlayer is going to show. This is going to give me a huge amount of variations in skin tone, which is what I want. It gives me load of flexibility. Every time you add a layer, you're adding to the size of your file, so you need to balance that with all the advantages that this is going to give you. I'll stop now and we'll carry on in the next video where we'll have the actual service layer of the skin. I'll see you there. 49. Paint 04 - the Top Skin: This is Goblin version 03. It is available as a download. And in between the previous video and this video, I spent a bit more time working up the colors on this underpainting layer because, yes, I'm slapping down some very garish colors. And if you were to Google something like skin tones underpainting and looked at some of the images that it gave you, you will see pictures like this, where the colors are very, very exaggerated, where you get your yellows and your whites at the top and on the bridge of the nose and the red areas around the end of the nose and the ears and the blue areas towards the bottom. This is a fairly standard way of working. But I wanted to work this up because you're going to be seeing a reasonable amount of this under painting layer. Otherwise, what's the point of doing it? And the more time I spend working this up, the more effective my final image is going to be. I have done things like I have zoomed in on the eyes, and I've painted white areas just where the skin around the eyes is, plus more local areas like the pointy bit of the chin. Well, there's a little bit of bone underneath there, so that might be more yellow and so on and so on. But that's the underpainting. Let's come to our layers panel again, make sure the head is selected, not the eyes. Then come to your layers panel, and I'm going to add another layer. In fact, no, I am going to rename the skin layer to underpainting, so I'm clear as to what it is. And then I'm going to add another layer and I'm going to rename this one. Let's call it top skin. I mean, I suppose I could call it epidermis, but that might be a bit pretentious. And, come on. Pretentious? What? My paint all are selected. I'm gonna come up. What do I have? For this, I want you to come to import because I've got some more files for you to download. They are also available. As a ZIP file, you'll have to unzip them and place them somewhere on your directory. Come to Import and just bring in, I think it's about four or five files. Now, the one I'm using is skin 01b. And the reason I've given you these files is because I just want to mix things up a bit. But for now, it's come to our paint icon at the top. For my color, I've got kind of an orangy color. I mean, if you look just where I'm circling, that will give you the code, but it doesn't really matter what color you use at this stage. All I want is for a generic, fairly orange color, but I want it to be very desaturated, like this. Maybe make it just a tiny bit more towards the yellow. Let's take a look at our roughness. Yeah, I want this to be a very mad effect, and I will come to all. And so now you may be thinking, Well, there goes the underpainting layer. What was the point of that? But no, look, if I come to my layers panel, my top skin layer is selected and I have this slider. If I start to slide it, look, I'll slide it quickly all the way to the left. There's our underpainting layer, and there it isn't. But if I slide this slider back, I want to take this back to about, say, am I now? Somewhere around the 80% mark. Can you see? I'm just getting a slight hint of that underpainting layer. And now, with it slated, I will come back to my paintbrush. Let's just double check a couple of things. My stroke, still set to lock and radius. My Alpha, I'm using skin 01b. I've not used it yet on this image. Let's see what it's like. In fact, you know what? I'm going to come to my paint icon, and I'm going to change my color to something really, really obvious. My intensity is up really high. Let's see how this goes down. Let's set the intensity even higher. Yeah, that works. But what I'm gonna do is take the intensity way way down. And instead of painting, I'm going to come to erase. Now let's take a look. For now, while I'm doing the big strokes, I will use symmetry, which is at the top here if I turn it off and on again. But as I start to go to more finer areas, then, I will turn symmetry off because this model is slightly asymmetrical. Where am I set too. Intensity is about 20-21%. And if I make repeated press strokes around here, I can start to take away this top layer in the places that I want it taken away. Definitely around the years, and I want to gradually build up. The effect. Now, at this point, you may be wondering, Well, why take it away in bits? Why not just set this slider to a certain value and just let everything show up underneath. The reason I don't do that is because we are dealing with the human face. I know it's a humanoid face, but it's human like in coloring. That is the most recognizable thing you will ever see. The first thing we learn to recognize when we are children is the human face. And we have pretty much a lifetime's obsession with looking at faces, so everyone can recognize what a face looks like. It is the most recognizable thing that you'll see. And if you get this right, people will go, Wow. Look, they did the face. But because people are so good at recognizing the human face, very easy to get it a little bit wrong. And, I know I sound like I'm going off the point, but the point is, the human face is a kaleidoscope of shifting values, different levels of shininess, none of which we have at the moment, but the project is still young. And so what I want is for this layer and the layer underneath to start interacting with each other, and I will be adding more layers on top of this. And I want any of the layers on top to start interacting with this. And I want all the layers interacting with each other to gradually build up a complicated picture, which gives us those ever changing hues and values. Alright, let's come back to our paint brush. Turn off a rays. Let's just come to our eye drop a tu, drag it over and just choose a color. There, now I'm going to choose a different color. Let's try. Somewhere around there, maybe. And again, big, big brush strokes, maybe up intensity a little bit. Turn around say, shall we try 30%? Let's see what that looks like? And I'm making big movements at the moment, still. So now I've got the colors of the underpainting interacting with the colors. Of this top layer. But because I'm not painting everywhere equal, I'm going for that ever shifting hues effect. And again, at this stage, I'm still doing broad strokes. I'm going for the overall effect. Let's try another color. Let's try. Come on, let's try some Let's try some deepsh blues. Let's try them around. Let's try a little bit around the mouth because this person doesn't really strike me as a flowery pink lips kind of a person, but I'm just letting this blue that I'm putting down play with the blue of the undercoat to build up the effect. And this is how I'm gonna work things up. Bit around the nose, definitely a bit under the eyes. Now, one thing I am going to do with this is take a look at the lighting because I think a couple of videos ago, I set up the lighting, but also the surface because with my material, I set it up for subsurface and if you remember, I was playing around with a depth and showing you this wonderful waxy kind of effect that you can get, but I think I got so happy with showing you that maybe it's set too high. This is something you'll learn to recognize the more you do things. Look, if I crack that way up, that is just completely instinct. So that definitely needs to come down because I wasn't getting the depth of wrinkles there that I thought I was going to get. And what about subsurface? Have a quick play around with that? Yeah, if I make that a little bit darker and a little bit less saturated, that's giving me more the effect I want because I want this to be a little bit grungy, while we're here, let's take a look at our environment, what's the exposure like? Well, for now, I will leave it about here. Let's try the rotation a little bit. It's all interesting, but what I want here is to get an idea of how the shadows and highlights are playing with each other. So now my exposure is 0.85 and my rotation is 152. That's giving me a little bit more of the effect I want. It was just a little bit too washed out beforehand. At some point, I will add a light in here. And also, I'm going to give a quick preview of this. Let's take a look. Post process is switched on. I think ambient occlusion is going to make a big difference to this. Let's turn that on. And yes, it definitely makes a difference. In fact, it's maybe a little bit over the top. Maybe I'd make the size a bit smaller. Actually, no, let's reset all of these, so you're working with the same values as me. Then maybe I would take the size. Well, let's take a look at the curvature bias. If it's cracked up, you get fairly small crisp shadows. If you take it down, you get a much more spread out effect. I think for this, I will take it up to around around 0.03. So I'm getting some fairly tightly controlled shadows. I'm just playing around with this for now. I will turn this off and come back to it later, and then I may alter some of the values. Already, you can see I'm getting something which is looking a lot more realistic because I have post process turned on, but also I've got two layers that are playing with each other, my base layer with all those bright colors and my top layer, which is sitting on top and varying those colors, but you can always see the base layer sitting through because the top skin layer is set to 80%. I'm liking what this is doing so far, and I will carry on working on that layer, but I'll stop now and in the next video, I'm going to add another layer which is going to bring a new level of realism to our model. So I'll see you there. 50. Paint 05 - the Specular Layer: Okay, well, the first thing I am going to do is I'm going to come and there's my Goblin version 03, incidentally. That little preview that you can see in that window, that's what we started out with. Already, you can see how far we've come. I will save this file. I'll just overwrite the version I'm using. Yes, I want to save it. So that if I completely mess up this, I can just go back, cut the old file, do this video again. And you'd never know. Unless, of course, I told you. I'm starting to like what I'm getting, but it's looking a little bit matt. And that makes sense because you saw when I flooded the area and I was painting, my paint was set to very rough. If I did something like that, well, that would look awful, but my problem is, the human head has different levels of roughness, like the bits around, say, the bridge of the nose. Well, the skin is stretched pretty tight over there, so you're going to get a slightly shiny area, the same with the top of the head. There's less wrinkles there because the skin is pulled fairly tight over there. So that's going to be shiny. The lips, they're gonna be shiny. Sometimes people have shiny noses. But at the moment, we just have one level of roughness. Okay, so let's come to our layers, and we're going to add another layer. Let's call this Shiny. Then let's come to our paint brush. I will keep skin 01b for the time being, but let's come to our colors, and for our roughness, well, I want this to be a bit shinier, don't I? Maybe somewhere around there. I've got around, say, let's call it halfway around 0.5. But now my problem is, well, that's up the intensity. I've got a set of 53. I can come and paint here, but that's more shiny, but I'm simply overwriting all that painting underneath, which is a bit of a waste of time. So this is what we do. We come back. Really is the easiest thing in the world. You see these little tick marks here? I'm going to turn off metalness 'cause we don't use it anyway, but I'm also gonna turn off the color. So now I'm only going to be painting with the roughness. Look, if I slide it around, if I take it right the way down, you can see all the colors. You can see everything getting shiny underneath, but you're not getting the color. So now I can use this to really judge how shiny I want this to be. And now that I've done that and I can look at the object as a whole, for this level, I'm going to set this around say, I'm looking at my picture, not of the numbers, somewhere about there, what have I got 0.38. Okay, that's fine. But now what I'm going to do is take my intensity down, and I'll start doing things like, say the top of the head. Make a few brushstrokes around here. The ears, yeah, I think they're gonna be shiny in places. Oh, no, one thing. I want a slightly shiny nose. I'm sorry, I'm singing Rudolph the red nosed reindeer and so I'm ahead at the moment. Come on. Okay, and start adding. Oh, no, can you see this? As I start to do this, those lips are starting to get the kind of shiny that they really, really needed to be. See that as I move the light around. In fact, whilst I'm acting all pleased with myself, I think this is going to be helped if we take a look at our lighting. Let's come to our shading, and I'm going to add a light. For this light, I'm going to change from directional to I'm going to choose a point light. And well, you can certainly see it now. Let's move this around a little bit. Let's move it out so I'm getting a more overall spread of the color a little bit further forward. Now what about my intensity? Because at the moment, it's really quite perhaps a little bit more intense than I wanted. I would take a look at the size. If I make the size very small, well, it's not really lighting anything, but as I start to make it bigger, let's move it in a little bit so I'm getting a rather exaggerated effect here. There. As I make the size bigger, it's starting to spread out over the surface. Of my model. Again, that's a little bit too intense. Let's take that down to around. I've got about 0.6. Because when I do that, it should be helping me to get some of those shiny bits. Look, if I make it invisible for a second, and then visible again, yeah, it's really lighting up the area. Now that I've done that, I'm going to come back to my shading. And the environment that I'm using that will set really quite bright. Now I've added a light. I'm going to take this down. Somewhere around then, what about the rotation? Okay, that's possibly a little bit darker than I would have. But for now, I want to try and show you how this specular highlight is working. So let's play around with it, make it a little bit more intense there. And just as a quick preview, let's come to post process, turn it on. That turns on things like the ambient occlusion, and that's giving more the effect I want. Let's up the intensity. I've got about 2.78 for the intensity, for my size. Yeah, actually, the smaller I make it, you know, just the more sharper the high lights I'm getting. Lo in that eye. If I make it big, it all diffuses out. So yeah, I'll make that around 0.21 or 22. That's giving me more than look I want. Okay, so enough faffing with this, let's tap on our model. Come back to our settings, check out roughness again. And I've done one or two general bits to increase the overall roughness or shininess. But now what I'm going to do is come back. I'm going to choose Alpha map. I'm going to choose something a little bit different. What do I have? Skin 038 large. You can see it's quite contrasty, and I'm going to come to, say, this nose area. I'm going to up the intensity to past 100%. I may well alter this because I want you to see the effect coming in loud and clear. I've got that septa around about 200 mark, and I'm going to drag out here, that Zoom right in on this. Got a little bit more. And a little bit more. And let's take a look at this cheek. Whoa, come here. Where's my four columns. I'm going to add a little bit of highlights on the cheek. Now, can you see when I'm doing that? Look, if I move this around, you can see those highlights and they alter as I move the model around. That light is catching those highlights in different areas. And so what I'm getting is a pretty convincing skin effect. But here's the nice thing. I am painting on a separate layer. You know, I've got my own layer, shiny. And so I can paint over the two layers underneath. And because this layer is sitting on top and because I'm only painting with the roughness, I can paint directly over those two layers, with all their complex tin, all the subtlety of colors, and I'm getting what I want, which are the different layers interacting with each other to build up a complicated image. Now, in the case of this, I think for certain areas like especially that bit under the chin, that is too strong. So I'm going to to finger tap it a few times because I think it's too strong on the cheek area, as well. Not a problem. I just take my intensity down. That's about half of what I had. Let's try a bit around there. Oh, that is so subtle. Hopefully, you can see this. And if I move around, Yep, see, the highlights catching. And how subtle is that? And that's what you want. I've got my broad areas like the lips and a bit of the nose. And I have my broad, shiny areas like they did on the top of the head or the side of the e. But now I can add much more subtle. Even that is possibly a little bit too strong. So I'll take the intensity down to half again. So now I'm on about 50%, just drag out this effect. And in fact, look, that overall is really quite shiny, but a little bit too uniform for my tastes. So I come to erase and I'll crank up my intensity really high. That's what? 600, whatever. And if I come here, look at that. Now I can have my shiny areas overall, but I can pick out. Let's take that down a little bit more and experiment. But now I can put in more matt highlights just in that area. So now I have an overall shininess, but with more matt areas than there, I mean, how subtle do you want this to be? How great is it to be able to do something like this? Let's tn off a raise again. Add a more shiny area around that nose because, well, the bone is stretched thin at that point. While I'm here, as well, let's try a different texture map. Skin 03 large. Let's try skin 01b now too much. This vorione 04 large. I've not used this. I just want to see what it looks like. I'm going to invert it, so I have a load of white spots, and I want to come to the top of the head, for example. My intensity, let's take this down to around, say, somewhere around 45%. What am I doing? Come on, let's have the courage of our convictions. Let's crack the intensity way up to around, what, 250%? Is that working? No, it's too big. Let's take it down a little bit down to around about, say, 100% and do a series of smaller marks like this. Oh, no, look at the side of the head there. That is giving me more the effect I wanted. I'm thinking about the texture of skin. Where you will get shinier bits and less shiny a bit. And now that I've done that, I think it is a bit too regular, so what I would do is I would come back. I would choose let's choose skin 03 a, which is a series of smaller dots. Same intensity, but I'll drag out some larger areas. In fact, let's just get my mouse, and I'm pulling from about there to about there there to about there, which is going to break up that texture, and let's get my mouse again, drive from there to about there. You'll notice, sometimes I will vary the radius of what I'm doing. Let's try a bitter on the shoulder Era. I know that's too strong, so to fingertap. Try and do that a couple of times. Now, what about a few bits just on the top of the ears? Now, let's move the light around to see what I'm getting and look at that skin texture. If you remember, at the top bit of this video, I was saying it's lacking a certain something. I'm going to add some more bits just here, just where the cheeks are. In fact, for that, just for the sake of doing something different, I'm going to choose skin worn B, which is going to cover a lot more ground. And I'm just I'm getting a bit I'm getting a bit excited at the moment. Let's up the intensity to around 230 231, and you can see I'm getting an overall, really quite shiny effect around the cheeks. And let's do it on the nose, as well. It's really quite shiny, overall, which I don't like at the moment. And, come on, let's do this bit here and maybe do a little bit on the chin area. But now, I'm going to come and I'm going to choose skin 03, a large, which is a series of fairly large points. But now I'm going to come to erase. My intensity as high as you like, because now I just want to come back into these areas which I've done and again, create that more mottled effect. This is nice. Let me just ride up in on that. Can you see that? I'm breaking up that specular area. Down the intensity a little bit to around about 100 mark and just break up this cheek bone area here. I think when we're younger, we learn to create art or whatever by making marks on a piece of paper. And if we have to, we erase things. And it makes a mess of our paper. But remember, this is digital. And as much as you can add detail, you can also erase detail. And when it's gone, it's completely gone. And unlike traditional paper, for example, where the mark never quite goes, and you end up ruining your paper if you erase too much. With this, it's not gonna happen. You can erase as much as you want. It's never going to be a problem. Alright, I think now is a good time for me to save this cause I think it worked. And we'll carry on in the next lesson. 51. Paint 06 - Fine Detail: Okay, we are making good progress with this. But for this video, I want to start adding some finer detail. I will do that on a separate layer so that I have that level of control that I want to add to the layer or erase parts of the layer. And I think because I am doing finer detail, I am going to come up to post process. Now, post process is turned on. I have ambient occlusion turned on, as well, because especially when I'm doing the finer details, the ambient occlusion is really going to affect the look of our image because there's a lot of fine wrinkles. And so the same principle hold if I'm doing fine details. That may affect the look. Of those various wrinkles and what have you. You probably won't see the effect of this because of the recording, but if you try it yourself, I'm going to come up to the quality I've got Maxame sampling set to 65, but I'm going to take this multiplier, which by default is set to one, and I'm going to crank it right the way up. And when I do, that makes my finer detail a little bit more crisp. Now, there's the thing. You do your model, you do your fine detail, you paint it, then you add lights, and then you do post process. That is a fairly standard linear sequence. But if you have a tablet that can handle it, why not work with an eye on the finished result because the finished result is going to be a high quality here with ambient occlusion. I know that much. And if that is critical, why not work with them turned on? Now, going down my list here, there are other things I will be looking at here, but I think amienocclusion is going to be the important one because of all the little wrinkles, and the quality at the top, yeah, I want that turned on. Alright, so let's come to our layers. I'm going to add a layer. I want this layer to be underneath the shiny layer so that I don't paint over any of these little specular highlights. Sorry, yeah, specular. You'll hear that all the time in three D modeling. It refers basically to how shiny something is. And let's rename our layer because the layers are starting to build up. Fine detail. And what I do not want is a load of layers called layer one, layer two layer, three layer four. Because then you end up playing, let's guess which layer I need to be working on right now. That said, this is a mistake you will make. You'll be painting a way very happily on a particular layer. Then you'll go and do something else, then you'll come back and paint, and then you'll realize you have painted on the wrong layer. This happens. If it does, the best you can do is rays. Don't know of a way to copy certain details from one layer onto another layer. If you really need to keep all that detail, what I would suggest is you would clone that layer with different things on then you hide one layer and rub out the bit you don't want off that visible layer. Then you swap. You hide that layer, make the other layer visible, and then erase all the stuff you didn't erase first time round. So rub out the bits off one layer, then rub out the bits off the other. Okay, let's carry on with this. Let's come to paint tool. I think for this, I'm going to tap on it. I'm going to reset. And if I come up to my brush settings, my stroke is set to dot. My outfit is set to nothing because I just turned it all off. Now let's come to the paint icon and decide what I want to paint. For now, I just want to paint color, so I'm going to turn roughness off. For my color, I'm going to make this a deep dark. Maybe I'll make this slightly of a bluey grayish color like this because the first thing I want to do is just paint on something approaching eyelashes. I'll make my brush size very, very small. My brush intensity, it's around 100%. Let's see how we go with that. The radius, I'm setting very low. That's what? 29, 30 pixels. Even that, I think it is going to be too big. Yeah, it is. So undo that. I'll let's take this right the way down. Five pixels, is that gonna do it? It is. But the brush is so small, I'm starting to see the individual dots that make up the brush stroke. So maybe that's a bit too small. So where am I? That was five. Let's try. Where am I am I? This is getting to the stage where it's hard to control this slider. Let's try 13 pixels. Yeah, I think I just about got away with that. Okay, if I try and move now by placing a finger, I'm gonna make a brush stroke. So two finger tap two, do that. Come up to a little snap cube and move that around. Then you know, there is a way that you can paint on or model eyelashes. You come to your tube tool, you make a very simple, a single eyelash, use as little geometry as you can get away with, and then you start cloning it in the areas where I'm painting now. With what you've learned so far and of course, you should be able to do that. I find that a very long winded process, so I'm not gonna bother with that. You've already seen me use the tube tool plenty of times. Alright, that is too harsh an outline for me. So I'm going to come to my smooth tool and try and smooth this out like this. There is one thing, as well, I should tell you, as well, when you come to the smooth tool, it has a different set of brush settings. Like here, look, I haven't adjusted the smooth tool for a while, and for some reason, I've got a texture there, which is not really what I want for a smooth tool, so I will come. Tap on it, and I will reset that so that it works as it should. Take the radius down again. But please be aware of that because in the past, I have been caught out, let's take this down way low. Say about eight. Because I've set my paint tool to act in a certain way. And then I come to my smooth tool, and it appears to act in a different way, which it would do because it is not just the paint tool set to smooth. It is a completely different tool. And so sometimes I've got mixed up with the settings I've had for the paint tool and the settings I've had for the smooth tool and spent some time wondering why I've gone wrong. Anyway, let's come back to my paint tool, and let's come to my color. I'm going to choose a pretty reddish color and a pretty lightish color about, say, there, because I think the inside of this eye area, that does need painting. Mm, people look at the eyes. And is that a little bit, that's a little bit intense for me. It's gonna vary from person to person, make it a little bit lighter and a little bit less saturated. Yeah, I prefer that. It will vary from eye to eye and from person to person. But remember, people are going to be looking at your eyes with great interest. Possibly more so than anything else that you model or paint. And so it follows that is going to be the bit that they're going to be most critical of. Okay, let's come back. I want something a little bit deeper, a little bit more intense. What am I doing? For some reason, I chose the projectol. Why did I do that? Okay, right? So maybe something around here, maybe a little bit redder, as well. And let's lower the intensity a little bit, maybe up the size just a tiny bit and see what we can do with this. No, let's make that a little bit. Rat up. In certain areas. Paint in different areas. As before, if I appear to be suddenly speeding up or I do a fade, that's because I just need you to see me working with this. I will come back and tap and tap to select that darker area that I had and try to make this blend a little bit more there and come down here again. I want that to blend in a little bit more. Come back to my colors. Again, use my eye drop at all. I'm going to choos that slightly lighter color, take the intensity down, and maybe just play with that a little bit just at the side of the eye just to build up a little bit of detail there. No, I don't want that streak. I want dots. I want a lobby area there, not that little streak. Okay, come back, tap, choose the darker color, take my brush very, very small and do a bit here. I'm working very close up with this, so I've got the control. But if I come to my little size everything to fit icon just next to my snap cube. Yeah. That's working a bit better. If anything, I'm going to come back in. Come to my smooth tool, blur that even more. I want the impression of eyelashes, rather than something meticulously modeled, which can sometimes look rather harsh. I think a very classic mistake when people are drawing is for eyebrows or eyelashes, I'll try and do the individual hairs and make that work. That so often doesn't work. You're a lot better off doing a darker mass, imagining things more as an area of color, bit like a tiny little cloud of toe rather than individual strands. Okay, let's zoom out to fit again. But yeah, that's looking better. Okay, let's speed this up a little bit, because that took quite a bit of time. I want to create a bit of stubble, so let's come to our stroke and come back to lock and radius. My alpha mat, I'm going to choose, what's this one? Skin 03a5 0.09. I will use that. But when it comes to you, it'll be some dark bits against light. That would be good for doing individual skin pools. But for now, we're just painting so invert, tiny little light dots against dark background, which means wherever the light dots are, that's going to be the bits where the paint gets put down. Come to our brush for this. I think I'll make it more generic, deep brown like this. Let's try a quick experiment with this, drag out an area. Whoops, that didn't work. 'Cause I'm using smooth. I made the exact mistake that I was telling you not to make. So with smooth come on, let's reset it in case I've done anything silly to it. Come to paint. Come to stroke. And yes, lock and radius. Alpha. What was it? 5.09, which is inverted. Okay, that's good. And now, I didn't delete that mistake because that's the whole point. It doesn't matter how long you've used a bit of software. You make mistakes. I've been using Photoshop for, since version one, something like 35 years, and I still make mistakes in that. We're all human. The important thing is to learn from your mistakes and move on. And in the meantime, don't beat yourself up. Let's try this with its current settings. The intensity is about what? 30%. Not seeing anything there. Let's crank up the intensity to stupid amount, 450%. Oh, yeah, there now. So somewhere in between the two, I think. So let's take that down to around about 150% mark. Yeah, that's given me more of what I want. So now it's a case of Well, I've got symmetry turned on while I'm doing this, at the sides where it doesn't really matter. And let's double up a couple of times because I started to get some streaking. And we'll put down our marks here where you're going to see one side of the face or the other. No one is going to tell that these dots are symmetrical. Having said that, I am putting them down on an asymmetrical face. So there'll come a certain point where I'm going to turn off symmetry by coming up just to the top here, turn it off. And, you know, I was adding Alpha maps. These tools down the left hand side. Look, you can change your texture map down here, and you can come to your stroke painting here as well. In fact, maybe I should have shown you that earlier because we had spent quite a bit of time coming up to these top menus, and, frankly, it's a bit confusing between this menu and this menu. So just for stroke painting, come down to here. Alright, symmetry is turned off. Let's add a little bit of stubble here, because especially if there are areas around the mouth and the nose, those are the areas which I made a point of altering so I get that non symmetrical effect, which provides more character. That's fairly even. Let's bunch it up in one or two areas just to mix things up. Same on the other side, which is not too easy to see because it's in shadow, but I do want the lights on so that I can use things like processing, for example, so I can see the ambient clusion. As a general rule with this, yeah, work fast, definitely. But make sure that when you're dragging out, you're dragging out so that you're pretty much facing the model that you're working on. Don't do it here where I'm at the side, and I drag that out because, well, if you zoom in close on that, I'm getting quite a bit of streaking. I think maybe that's as much as I want to do for that particular model. Bear in mind, I can always erase it if I want. And because it's on a layer, I won't erase the stuff underneath. Let's just come down. I'm going to choose a different Alpha map. Let's try one with slightly larger dots. Just quickly look at that. That is the bark texture, which I want to do something with, but not just yet. Let's try this the only problem is it's not giving me the name of that texture. So, unfortunately, skin 03 A, which is inverted. I want to take the intensity down. Let's come down to this bottom bit. I want to choose just some different colors. Well, let's take a look at the top. Yeah, I'm just going to lay down some blobs here just to mix up the look at the top of the head. I will come down I will change the color around a little bit. O. Getting a little bit of streaking on there. I don't mind that. No, what I'll do is, look, this time, I will come back with my skin 03, and I'm going to increase the scaling. And I'm going to change to triplanar. I can take a look at the preview. The hardness, I can play with that. That's very hard. I want this to be softer. For the scale, I want the scale to be more bigger and blobbier like that, so I'm taking the scale down. That's much more the effect I want. I will turn off preview. And, yeah, that's giving me much more of what I want. Also, because it sets triplanar, I'm not going to get that streaking, which I had before. Yeah, that's much more the effect I want. Now, supposing I come down and I'm going to change to more of a dusky blue color. And if I paint again, you can see that I'm getting the effect being dragged out in exactly the same place as the first set of paint strokes, which can be to your advantage. If you don't want that, but you still want to use triplanar, then fine. Come to the settings. Then you might want to say alter the scale, so the new stuff you're putting down is at a different scale. And actually, yes, now that I've done that, I do quite like that sign I'm going to come back and choose choose more of a neutral gray, just to mix things up. And in just one or two areas, I can always ride the intensity so I can get very subtle effects, then maybe come back, change the color, again, ride the intensity, and it can create a huge amount of variations here. In fact, yeah, with this nose. I want to create a little bit of variation there. What's it like when I up the intensity? Yeah, just break things up. Okay, the very last thing for my paint, I'm going to reset it again. I just want a very, very simple brush. For my color, I want it set to a desaturated brown, maybe around there. The intensity is set nice and high. My brush size is set very low again, and definitely symmetry turned off because there are certain bits here, the spots. One of the reasons you put the spots there is it's in keeping with this character. And also, I made sure they're asymmetrical. Asymmetrical, asymmetrical? I don't know. Just to reinforce that this is a real character, complete with asymmetry. And yet, there's one on the foreheads. Now, this is going on too strong. I like the effect overall, but that is too strong, so I'm going to come to my as tool. I'm not about the intensity a little bit. Let's come to these ones here. Actually, look, there's a bit there. Let's erase that, and that proves my point. That random stroke I did, I was able to erase and not affect the underlying pain because I'm using layers. Let's just undo that again. I'm gonna take the intensity way way down. I just want to gradually fade that back again. So I've got a little bit of the underlying skin. It's helping to bed that mole into the underlying skin, just a little bit more. Let's come to these ones here, as well. And, definitely the one on the forehead, 'cause that's against some lighter skin. Alright, so I've got my various different bits done here. I might come back to this, actually. Jonifa Rays. Sorry, I might come back to those moles a little bit later on, depending upon what I do in the next video. Right. Let's come to our color I want fairly reddish orange, quite intense. Intensity is set way low, and I just want to add a little bit. Let's up the intensity so I can actually see what I'm doing before we all die of old age. Make a few brush strokes here because you do tend to get different flavors of red or pink on lips. And also, I'm going to come down to a very deep dead blue, and just around the outside, I'm just going to add a little bit of darkness to this lip because Oops, I tried to drag the model around, and I failed because at the end of the day, this is, well, it's a goblin head and having some Judy Garland lips on there. Maybe not. Random, streaky strokes. And let's take a look at the before and after. Come to our Layers panel, and let's just turn it off. That's before. That's after. And yeah, those finer details, they are really adding something to our model. So, hooray, I will come and save this. And ready for the next video where I'm going to show you how you can take this basic model and give it potentially an infinite variety of paint jobs. That's coming up in the next video. I will see you there. 52. Paint 07 - Variations: Okay, so I finished off the previous video by making this wild claim that I was going to show you how you can have potentially an infinite amount of variations for this model. So now I'd better put my money where my mouth is, haven't I? Come up to our layers panel, and yes, we are going to add another layer. In case you're worrying about the amount of memory this takes up, I'm finding, the amount of polygons you have. That makes a difference. And also the amount of undoes you have. That makes a difference. But I'm finding these layers. They're not really adding that much to the size of the file, so my recommendation is great. Use them. Anyway, let's come. Add layer. I want this layer underneath my shiny layer because I want my speculative details lying on top. And I'm going to call this layer. Variations. My paint tool is selected. Let's come to our stroke painting, the paintbrush. I'm going to choose the color for this, so let's chose Let's choose actually, that brown is not bad. Let's make it a little bit richer, a little bit warmer. That works for me. I'm not painting any kind of roughness or anything like that. It's just set to paint, and I'm going to come to paint all. Then I'm going to come back to my layers. Now, you already know that if I start to fade this, Look at that. I'm getting the underpainting, the top skin and the fine detail all peering out from underneath. Oh, this variations layer is having the effect of bringing all those elements together. Look, if I make it invisible, you can see very definite areas of red of yellow, which you're going to get interface. Turn it back on again. I'm getting a completely different kind of goblin, but like I say, a whole load of variations. But I have the opacity of this layer set to about 80%. I'm going to come down to this icon with the drops because if you remember, we spoke a while ago about layer blemode and I did recommend that if you go to my drippy cat YouTube channel, I do talk about layer ble mode, and all the layer blem modes on here are discussed. But in a nutshell, these top four rows will make everything appear to be darker. The next four rows will make everything appear to be lighter and the rows underneath will make things appear to be more contrasty, darker and lighter. That's the very simple explanation. But look, suppose I come to multiply. You see how that changed? Let's do that again. Let's come to normal, and then come to multiply. It's making things darker, but in a different way. Look if I come to darken, different multiply, different, linear burn, different color burn, different. They're all different in subtle ways, and they're all different from normal. So so far, you've got five different variations multiplied by one to 100%. Now, of these, certainly with two D, if you want a fairly natural finish, then multiply is a good choice. So I'm going to leave it there for now. I'm also going to come down to my stroke painting. Let's change that to let's choose a standard gobbling effect, green skin, but fairly desaturated, paint all. And again, I'm getting a different effect. What does that look like? Well, I come here, and I changed that to linear burn or color burn. So not keen on that. Do like multiply. Linear burner is giving me a more striking effect. Color burn is also working as well. In fact, I quite like color burn. Now, I'm using fairly dark colors for this. Let's try one about there and paint all and just see what happens. I'm using the dark and blend mode. To that's the top row. If I come to the next row down and of those screen tends to give the natural choice. So we'll start with that. Well, you can see not a lot is happening there, because if you have a dark layer like we've got here and use one of the lighter blend modes, nothing happens in particular. It's when you take the blend mode up. Let's try that pretty light blufer some kind of ice goblin maybe. I come to paint all. Now take a look. If you lay set to a light colour and use one of the lighter bled modes, you're gonna get this effect. With this, I think it does need a little bit of tweaking around. Like the top skin set to zero is giving a rather an unrealistic looking effect. But if I start to increase the top skin opacity, it is looking fairly washed out, but I am getting those variations in tone. At this so, you might turn around and say, Well, I'm enjoying all these different variations, but not everywhere all at once. Not a problem. Let's come to our paintbrush. It's set to surface. Let's put it back on locking radius. I don't need to alter anything else, because what I am going to do is I'm going to set it to erase intensity set low, brush size. Well, it doesn't really matter because it's lock and radius mode. I will turn symmetry on, and let's just double check which layer I'm on. I'm on my variations layer. That's good. Because that is a very common mistake that people make. And we can just fade out this top layer just in the areas where I don't want it, or I want it less. And yet, it's fading out from the back, as well, I look the intensity a little bit more because time is moving on. But if I was doing this as a project, I would just keep the arrays set pretty low and gradually build up things that way. Yeah, just taking it from areas like the mouth, that's really helping Sal the idea. I'm working very fast at this. But it's given me just enough variations. So that it doesn't look like a sea of very pale skin tone that's just been slapped down over the whole of the model. I'm getting variations, and these can be as subtle as you like. Typically, if I was doing something like this, well, I'd come back and take another look at the ambient occlusion. For example, Pol probably I definitely want to do tiny bit, I say tiny bit. I'd want to lose some of it from around the eyes. Okay. Maybe just a tiny bit here. I'm sorry. I'm getting into I want to create something that I like mode rather than teacher mode, so maybe I should stop doing this. Come on, Simon, listen to your own advice. Right. So I've got my variations that way. Now, let's come back to our variations layer, and we can fade it in and out all we want. The only problem I've got to find is, I think it's an idea to settle for one particular color scheme before you start erasing things because if I suddenly decide, You know what? I always like that deep brown color which I've got there. So paint all. It all gets painted. And because it's set to a lighter layup lem mode, you don't see any difference until you come back and set it to either normal or one of the darker ones. And the problem is, because I flood filled everything there, you see, I re flooded those areas that I've painted so silly me. No, I just needed to make that point that you'll be painting and you're flood fill, and you can lose all that work that you did. Just try and be aware of that, but let's add just a little bit of variation so I don't get to completely monotonous skin because, as I was saying earlier, You have got all of these effects working together to create your final object and book. Because I made different paint strokes on these different layers, they all combined together to make a coherent image. Now, you'll have to forgive me, but I'm going to come back to my shiny layer. I'm gonna come down to my alphas because there was what, there was this bark pattern, which I had. Let me double check that by coming to the fine detail layer, paint on intensity yeah, that bark layer, that's what I wanted. So come back to my shiny layer. Make sure my brush roughness on color off. I'm going to take this down, so it's nice and shiny. I'm taking it down to just about nothing here. Just try and make the point. Am I going to see anything which, yeah, you can just about see the effect. Let's try and get it so I've got a little bit more light shining here because I think that bark effect would look good to represent the kind of skin that you find on top of the head. My problem with that is I can't see it clearly enough. I need to add my final light for this to decide whether to carry on doing that, which is exactly what we'll do in the next lesson. I'll see you there. 53. Paint 08 - Light & Post Process: In this lesson, I want to add some lights and just pose our model for the final look of it. Just before I do, I will save it just in case I do anything really stupid. And the first thing I'll do is I will set this up for the kind of angle that I want for my final finish piece. Maybe about there. Now, what about these eyes? In fact, look, looking at these eyes, I'll choose one, and I'll come to my transform Gizmo. I set this up, these are a little bit too deep in the socket. Now, I know I have symmetry turned on, so what I do to this, I will do to the other one. And maybe now if I come to shading and turn this to McCAp, I might be able to see that a bit more clearly. I need to move this around. Maybe it should be a little bit bigger as well. And it's just a case of tweaking this to get it so it looks like it's sitting in the eye socket the way it should be. And I think that's about right. The move in just a tiny bit there. And what I want with this is to set up my camera angle maybe there. But I would like that eye to be facing me. I go to push it back a little bit because I'm looking the far eye, and it looks like it's sticking out too much. I'm taking a bit of time with this because it's the eyes, it's the thing that people are going to look at. So I do want to try and get it looking as nice as possible. So I want them to be looking towards me. Now, here's my problem. If I come to that yellow ellipse, that's what I want to move. If I do that, can you see the problem? Yeah, let's do a cross eyed goblin. That will be scary. The problem is that these are mirrored. Not a problem. Come up to where the eyes are outer and inner. Okay, we'll leave that there. We'll choose the mirrtal and we're going to validate. When we do, I'm choosing an instance. Actually, no, I can do keep instances, confirm. Because now when I choose eye itself, it can now move independently. My problem with that is that I moved it over and I want to move it up. But if I start rotating now, I might knock the alignment of this because my gizmo is set to world space. So I'll undo that and undo that again. And so I can rotate once, but then when I rotate again, I'm starting to rotate the eye out of position because I need the gizmo to follow the movement of the eyes. Let's come to where it says, align, turn it off. Now, it does flip upside down, but it does mean that when I move it, the gizmo moves with the eye. Now, in case you're unhappy about it being upside down, let's come to pivot and come to a line. So now it flips up. So now it's facing the way a gizmo should face. But move it there, and the good thing about it is because the axis is moving, I can move this. And I know that take that green ellipse. Let's move that down. You can see it's looking down. See that ellipse, which I'm hovering over so it turns yellow. If I move this up now like this and I let go, that green ellipse now looks practically like a line because it's so shallow. And I know from that because my gizmo is set to local and it's moving with the eye, I know that when I have that shape, then that eye is pretty much facing directly towards me. Alright, that works for that. Come to our scene. You can see I have something called outer one, and next to I have this little kind of a triangle with dots. That means there is a group there. Open it up. That is what I just moved. Let's come to this one, the other outer. I'll come to pivot, come to a line so it lines up, and I'll do the same thing. Whoops. No, I won't move it in. Make sure the yellow thing is selected. I'll stop it. Sometimes it can be hard to pick the right ellipse or line. Does get a bit confused sometimes. Alright. Now, if I just tap on the head, come to clay so I can take a look, those eyes are facing directly towards me now, but I'm happy with the eye nearest to me. Not so much with this one. It looks a little bit too far over. So I'm going to basically, I'm going to lie, okay? Yes, I said it. I'm going to move it so you can see more of the eye. If I come to clay, it still looks like Goblin is looking directly at us, but I can see more of that eye. So I'm fine. I can live with that. Right. Now that I've done that, before I do anything else, before I start putting lights and come to our camera panel, and I'm going to add a view. And let's call this render view. So now I can set up any more light that I want, which will mean I have to move this around like this. But whenever I want, I can come to my camera views. I can come to my camera panel. But just for now, I've got this render view there. Let's come to previous, which I quite like. Next, and next because I have three cameras here, which means three views. Alright, let's move this around. Let's come to our Light panel. I've got a point light here. Light 71, and you know what? I'll come back to my Lights panel, and I've got the option to name it. Bin it or rename it. There's some extra options here as well. I'm going to add a light. And for this one, I can't come to my three buttons. I'll change this to spotlight. I'd like this to be a pretty cold light, as well. So, come on, rather than messing around here, let's just come straight to Kelvin, which gives us natural light, which is the kind of thing that I want. And, whoops, let's make sure the light is selected and start moving it around. I want this come from the back. Gonna have to rotate it around so that it's pointed directly at goblin. There, that's starting to help me. I want it set to a pretty wide angle, fairly soft, but actually, that's too high. I want that set lower. Let's take a look directly from the top and move this. That's starting to help, I think. That's up the intensity. Move around. What I want, is it just catching the side of the head. Let's take a look undevi Yep, around the side of the head, that's the kind of effect I want. I'm going to zo that just a little bit trying to keep the general view, so I can see that light once more, and I want to increase the softness because actually, no, do I increase or decrease the softness? I want it softer, but I'm going to increase the cone angle so it's lighting up more. Like, see the tip of that ear? Yep, I want that. It's going to our size. That's the thing, which is a bit irritating sometimes. You tap away from the panel and the light gets deselected. Let's come back, choose our light. Let's just quickly check our size. We're deciding how far it cuts in. And I think about there, let's come back to our rendez view, tap away. Yeah, that rim light is working for me. Let's just come back and take a look at our environment. Now that I've got my basic painting out of the way, I can afford to be a little bit more experimental with the environment. Maybe choose a different color scheme. But before I do that, though, let's come to this light, take a look at it. Truly make that. Let's make it a little bit warmer. Oh, that's providing a little bit of color to our goblins cheeks, the intensity, blown out details. Well, I can do that, but let's play around the size and see what happens with that. I'm getting two deep shadows under the cheek with that. I need to extend that, I think. Shadows, yes, I do want it to cast shadows. The intensity needs to go down something a little bit more reasonable. Now, what about this environment? I'm playing around with the lights now that I've got all my basic colors in place, plus my lights. So it's worth one more tweak to see the effect that this is having. Come on, let's turn off our icons, then come back to our lights and just move it across a little bit, just so you can see the whole face and lights. Okay, let's play warmer or colder. Cold, warmer warmer, cold up, back to warmer, colder, back to warmer. Cold ho, back to warmer. Although, I quite like some of that blue light. Almost no difference. That's working quite nicely for a realistic effect. So I'm between that one and that one. And I'm going to go with that one because I'm getting a little bit of less saturated light in certain areas. And given I've done a blue light with a warmer light, I would expect to see some warmer areas and cooler areas. And that's what I've got with that environment, although it's predominantly cooler. Now, let's quickly play around with the exposure too bright. I want this nice and dark. What about the rotation? That's not bad at picking out certain areas, but no, I think I'm going to take it to around about 280 markets, providing a slight highlight on the side of the head. Let's come to post process, see what we can do with this. Ambien clusion, let's just play around with the strength a little bit and the size and the curvature bias. That's without it. That's with it. Yeah, it's making enough of a difference for me. Depth of field. I'll turn that whenever you're doing a depth of field thing, it's always the eye that's closest to you, that is the bit you tap on. That's the bit that should be in focus. And I like what that's doing. It's helping to sell this. Look, I'm drag this down here just so I can see a little bit more the whole object. But I think it's a bit too much. I think you can overdo this effet. For the near blur, I want to make that pretty crisp all round because there's a lot of crisp detail. For my far blur, that's way too much. Let's take it down, so it's just a touch of out of depth focus, not so that people will really notice, but when you turn it off, then you get more the crisper details. Bloom, M, we're going to use this. I'm not sure about that. Let's try it up in the threshold, so it's more fussy about what it's making blooming. I quite like it just on those highlights just on the side of the face, but it's too much. The radius? Yeah, again, I'll go for a subtle with that. Tone mapping. They're all gonna give different looks tone, neutral, Ajax, Aces. Wow. That is intense. And again, I'm going for a moody picture here, so I do quite like that, but maybe that's just a little bit too much. Let's take this saturation down a little bit. The contrast Oh, no, that contrast does not work. That's just making things gray. Let's reset that. I do quite like that, but I might have a quick play around with other things in my picture if I decide to keep that. The color grading, this gives you fine control over the darker and lighter areas. Like, if I take that point here, I can raise the darkest point, which is a bit pointless. But like I say, this gives you fine control. That lowers the contrast which you don't want. That would really increase the contrast. There's some really quite dramatic effects. But also, I've got a very warm kind of color here. Look, if I came to blue, if I put a point in the middle, I can reduce the blue to give a much more of a red plus green effect, which gives yellow, or I can increase the blue, which gives a more of a blue effect, or if I put a point fairly high up another point there to control this curve a little bit, I can put a little bit more blue just shadow areas. I think that's pushing things a bit too far. Et's try to only get off, turn it on again. I'll come to the main and reset it. I'll come to the blue, and maybe just tweak that to a very fine degree. No blue looking yellowish. Average amount of blue, just a little bit more blue in the shadow areas. We actually no there's not. Bit more blue in the shadow areas. Then I can come to the red, and maybe I want to warm up the warmth in lighter areas. Well, I can do that by upping the red ever so slightly, just by a tiny amount. These are curves, and they can give you a whole load of really remarkable effects. But they are risky. It's very easy to completely mess up what you've got. Let's try before, after. And I kind of do prefer that. It's been fine tuned. Curvature. Oh, I'm not sure about that. Let's take a look at the bump. Take it to a fairly generic light color like that. And let's take the factor right the way down. I start to introduce it. Do I like this? Really not sure about it. And for the cavity, that's the deeper recesses. Let's change that to let's change that to kind of a deep cyan, which works nicely in shadow areas. Take that down to nothing and gradually dial it in. Let's turn that off and on. If I have to keep on turning it off and on, then it means I'm undecided, so turn it off. The vignette, yes, I would like the vignette. This is a moody portrait. So if our head is rising up out of the gloom, that's fine by me. I'll take it out a little bit, so it's not completely making everything dark. I just want it just around the outer areas because it helps the viewer focus on the central part of what we're looking at. Grain. Not interested. Sharpness. No, I can always do that if I was to export this out. Pixels gan light. Oh, just forget all that stuff. Now that I've done that, I am very nearly there, and I've got a much more darker effect than I was expecting. But because of that, it means I now go in and start looking at my lights because that light here, maybe that now could do going down a little bit because it's looking rather too bright. But I'm going up the exposure because I like the fact we have a dark moody portrait, but there's dark and moody, and then there's dark I can't see what I'm supposed to be looking at. Finally, with this light, shall we move it? Yeah, increase the size a little bit, and maybe let's try moving it away and maybe playing again with the intensity. And well, let's save our project before I do anything else and come to export, render. I will just render this to screen the same size as the screen. Export PNG, takes its time. There's my render. Let's export this. Come to done, and come to done in the top right. Let me save this with the final tweak. That's 75 megabytes. Yes, I can send this to you. And that is the end of this advanced painting project. Feel free to go in and add more tweaks on your own. And that also means this is almost the end of the course. But I have just one more video. And this video contains some rather good news, and I'll let you find out what that is. As soon as you click on the final video of this series. 54. Goodbye from me, and Hello Desktop!: Well, wouldn't you know it? Around the start of this course, I did say there was a desktop version of Nomad Coming. And when I'm putting the finishing touches on the final few videos, it turns up almost unannounced, but here it is. The first thing is, yes, you can download your iPad nomad files. They open up just fine. I'm using the Mac version, by the way. There is a PC version as well. Now, I actually bought this about 2 hours ago, but my first impressions, I can see all the tools I've used on the course. I'm using this on my 24 inch tablet. It seems to work great. You can see I've used just about 500 megabytes out of 137 gigabytes. That it is significant. Okay, yes, I was a bit extravagant when I brought this MacBook and I stuck a load of RAM in. But the point is, we are no longer constrained to a 16 gigabyte memory limit because that is the most amount of RAM you can get for an iPad, at least at the time of me saying this. Immediately, I'm thinking, what I would probably do is start my work and build up my general forms on the iPad because the Apple pencil P is the only pencil I know which lets you twist around the shapes when you're using the move tool. I find that to hugely creative device and then bring it over to my desktop to do all the fine detailing because I've got that much more am. Now, let's take a look at this. I'm using my pencil, and if I come to the outside and drag around, I can rotate. That is the same as the iPad version. But because this is a desktop version, you're going to have to make friends with the keyboard at the same time. To move from side to side instead of rotating like I'm doing now, hold down your Alt or your option key and drag with your pen to move from side to side. Let go with your pen, and that's your new position. Hold down your option key, move around. Then let go of the option key, but keep your pen on the surface of your tablet. Then if you move up, or down, you can zoom in or out. This is the way Z brush works, and it makes sense just to use the same principles. I think when you're doing this as well, one thing I would recommend is coming up to your settings, and yeah, these are all the same as I had before. You know what? Transparent panel. Let's try that. I'll turn that on. That gives me what it described, transparent panels. I like that. I will set my color scheme to the same as I have on my iPad for the same reason. I don't like red buttons. It feels like I'm being warned not to do something. But one thing I would recommend is that you come to the bindings and start learning the keyboard commands. These are available on the iPad version, but up until now, I didn't mention them because I can't assume that you have a keyboard for your iPad. In fact, I advise against using those cases with a built in keyboard. It just makes life awkward when you want to draw something. So take the time to learn these things here. In fact, let me do something. Let me come here and I'm going to add after that they've renamed it to Quad sphere instead of UV sphere. That's fine. There we go. Get my Gizmo. Let's make it nice and big. And middle mouse button, you know, the roller in the middle of your mouse. That zooms in and out, but at a ridiculous pace. So I'm going to press the space bar, which brings me back to my front view. But I'll make this bit bigger, just so I can see it and I can't see the hue or behind it. Come to validate. Now let's take a look at this. Let's switch back to MCCAp. And yeah, all this is looking exactly how I want it to be. I'll stick smooth shading on this. Actually, no, I'll turn it off a second because just because I can, multi resolution, let's subdivide, subdivide, and subdivide and subdivided. Keep on subdividing. The mesh will have 6.29 million vertices. Are you sure? Yes, I'm sure, because I've got load to load of Ram. Subdivide loop exceeded Alright, so delete lower. I'm sure I could keep on going with that, come on. Let's get to move on. I am still getting used to the interface. I'm sure you will too, and yes, I have two finger tapped my screen. But let's move this. Let's make it. Dig it up, move it again. Right, let's come to our clatol. Yes, it all works fine. Then I hold down my Alt or option key. And that digs in. As you can see, if I hold down my shift key, that starts smoothing. Now because I've created such a relatively large object with so many vertices, the smooth button isn't working quite how I want it to. However, if I come back and take my finger off and build up again, the pressure sensitivity is working. I'm pressing light, I'm pressing harder. Wow, that's working. Oh, come on. Let's take a look at the wire frame. Yeah. I can feel some silly amounts of polygons coming along. Anyway, look, I am going to come and I'm going to delete that. Turn off wireframe. Space bar. Sorry. Turn off wireframe. And come on. Let's turn on, it again so that we're back to where we started. In fact, no, I'll open up another file. One thing I found is, if you want to open your file, come to import first, then import your nomad file from wherever. And once you save it, then you can just come back to open. Let's just open it one more file. Father snail 03. That's 4.5 million vertices. But as you can see, it moves around really, really nicely. And if I come up to my layers panel because I have much more ram and more processing power. I've got loads of things turned on in post processing right here. I have a whole series of layers here. We have done layers. If I come to the mouth closed layer. I, I don't even have to select to let's come back to the top. Just come to where it says 100% and I can drag that and you can see, you can alter the geometry using layers. In this case, yeah, I can open and close the mouth. I also added the body banks on a separate layer so I can control that. In case you're wondering, especially now with this being on the desktop, yes, you can export this out to blender, for example, and Blender will remember these layers. Just to finish off the suit, I'm going to come to add layer and I'll rename this layer too. Shine. Then let's come to our paint tool. Oh, incidentally, let's come back to here. You've got your various different bindings, your interface. Come on. Let's turn on the transparent panel for this. If I come right to the top of my interface, see here, it says toolbox resize. Well, I set this up to be my favorite for columns wise. If I turn off resize, you lose that little gizmo at the bottom which lets you resize the panel. So hopefully, I don't spend any more time going, Oh, I'll just resize the toolbox, so I know where everything is. Anyway, let's come to paint. Let's see what I've got here. Actually, you know what? I'll just reset this and paint Alpha. That's fine, stroke. I'll have it set to dot. The alpha, there's nothing there. But if I come to my little stroke painting tool, you can see this controls everything like how opaque it is, how metal it is, what color I paint. I want to turn all of those off. I'm just going to work with the roughness. That's very, very matte. That is very, very shiny. I'll do that because all I want to do is come to my shine layer. Let's take the intensity down to gradually build up things. Uh I come to these cheeks, I just start painting here. Oh, look at that. Can you see when I'm doing it? I'm increasing the shine just on those areas, maybe around the back. And so I can do localized. Hold on a option key, move to here. Let go the option key Zoom right. Close and personal, my brist size a bit smaller, and I can do my localized painting like this. And I did have to stop myself then from pinching inwards to zoom out. It will take some getting used to, but I think it is worth it. Definitely, it's worth it. This is great news. Okay, now the very last thing I'm going to do is we did the quad remesher tutorial. Look at this. It's given me the option to buy Quadri mesh, so I will click on that. You can see I used Quadri mesh on this befe, but this one here, remash if you want to remash, click again on this. So on desktop, blah, blah, blah, whole load of looks like technical stuff and maybe a bit of legal stuff. So unlock purchase, I'll do it. What's going on? Coming back to my desktop. Please read this contract carefully. This is illegal. Uh huh, yeah. Yeah, yep. Okay, good. Fine. Okay, I've just read all of that. Understood all of it, and I agree. Quadrin masher needs to be activated before using it. If you at a per blah, blah, blah, blah, blah, blah. If you want a license, buy on exercise like that, licenses. Right. This is something I didn't mention with Quadri Masha. It is available for different software. And for me, because I use different kinds of three D software oh, look at this. The extra license type on multiple software on the same machine, no Matic upp for iPad is not included. Okay, yes, you need to know that. That will save me a lot of people asking me this question because a lot of people will want to know. And the answer is, you'll have to buy a separate license for the iPad and the desktop. And the desktop version is quite a bit more expensive. That I accept. Software is nearly always cheaper on a tablet. But for me, it looks like perpetual P would be right for me because I use lots of different software. I know it's not cheap, but given this is one of the things I do for a living, then quadri measure is going to be worth it for me. So license type, perpetual Pro. I do it for a living, so I have to. Choose target software, nomads cop, all softwares including CAD that would suit me. I don't use CAD software. So perpetual Pro, 139, buy on exercise, blah, blah, blah. All right. Okay, I will fade out and fade back in once I've filled in all these details. And I've made my payment. Let's come back to remesh. My license key came through straightaway. So enter my email, enter my license key and activate. Your license has been successfully activated. Let's try restarting. No, I don't want to save, and I'm loaded again. Oh, come on. What do you know? Let's put on Resize. That was interesting. I had to unlock that twice. I mean, you saw me do the process. But let's just see if it works and how long it takes to do on my fancy machine. And yes, it's not instantaneous. Then it suddenly speeds up. Right, let's choose no tool. Take a look at that. And yes, it works pretty much from what I can see, the same way as the iPad version does, along with the occasional glitch here, which we spoke about when we mentioned the plug in. But yes, that seems to be there. I will control or command plus Z to undo that. Now, because I got out without saving, I didn't save that layer with the shine on it. One thing I should mention the models I've used in this video, I had beforehand, they are not part of the course. I just use them for demonstration purposes. All right, so there you have. Nomad for the desktop, which is a really nice, good news way to finish this course. Now, on that score, right at the beginning, if you remember, I told you about the three rules of any creative individual. I said, I've mentioned the final one later on in the course. Well, this is the end of the course. I would like to thank you if you've made it this far. Very well done. I hope you enjoyed it. I hope you got a lot out of it. This has been a solid foundations course. Now, I may do other NMO courses in the future. In the meantime, I've tried to give you, the solid foundations, which means not every tool and every feature, but the most important tools explained in enough depth so that you know what you're doing. Once you have solid foundations, it's easy to add more information in a sensible way to your body of knowledge. Which takes us back to the three rules of any creative. The third rule, which is three words, get things started. The second rule, which is two words blend opposites. Now quick drum roll. The single most important rule for any creative is one word. If you don't follow this rule, you're probably not going to have any success. But if you do observe this rule, you are far more likely to have success, and I guarantee you will improve. The number one rule is one word, finish. I