Sculpting for Beginners in Blender

1. Welcome: Hey, here, I'm Ami Kumar Dave and I welcome you to this beginner friendly class on **** in Render. If you have ever been curious about how to slap fan, stylist, characters or model, but felt overwhelmed by all the tools, don't Wally. This class is perfect starting point for you. In this class, we'll start slow and simple. First, I'll introduce you to Blenders lapting wax space and work you through the most important brushes, what they do and how to use them effectively. Withers pushing, pulling, or smoothing or pinching. You will understand how each brush helps shape your model. Here is what we will cover setting up your scene for slapting, exploding essential slapting brushes like draw in place, grave, smooth and mod. Tips to keep your mesh clean and smooth while flopping. How to approach just clouting workflow with confidence. And once you are comfortable with the brushes, we'll move on to a simple hand on demo, a fun little cartoony face club. I'll show you how I approach it step by step, from shaping the head to carving out the eyes, nose, mouth, and basic expressions. This part will help you connect everything you have learned and see it in action. By the end of this lesson, you'll have a solid foundation in blenders clapting and you will feel ready to start creating your own stylist characters or model. Whether you are complete beginner or just looking to strengthen your fundamentals, this class is made with you in mind. Let's get slotting and bring your imagination to life. See you in the next lesson. 2. Lesson 1 Essential Sculpting Brushes : Hi there. In this lesson, we'll dive into the basics of slepting in blender. Sclpting allow us to shape models with a hands on approach, which is different from traditional modeling. While modeling involves building of shapes using vertices, edges, and faces, sclpting let us mold the surfaces, much like working with clay. This gives us more freedom to create organic and detailed shape, like character pace muscles, and other natural forms. To get started, let's add a basic shape. That will act as our slapting base. Go to the Ad menu under me section. Import a Q. Once it's there, go to the property spinel. Go to the property spinel. In the modifier section, at subdivision surface modifier. Increase the Bupot and render level to four and apply it. For slepting, we need a very dense mesh because the slapting brushes will push the verticies inward or outward. So make sure the meshes are very dense. If you go to the war fame, you can see our meshes are very dense, right? And now we can use the brushes to extrude or to push the vertices outward, and we can add details to our shape, right? Now, once you apply the subdivision surface modifier, we need a modifier called the multi resolution. For that, go to the properties panel and in the modifier step, add a multi resolution modifier. This modifier is ideal for slapting because it allow us to add more details to the model while keeping the original shape intact. Now, I'll increase the subdivision to one for now. Now we can start sloting. Let me tell you that there are two ways to slot onto the surface. One is by staying to the layout workspace and just switching the mode from object mode to slap mode. Or you can go to the slating workspace to adapt the environment bit better. This is the slating workspace. I will expand the panel by dragging it outward, and you can see there are so many brushes. By default, the draw brush is selected. This is the basic brush, and it allows you to draw onto the surface. If you draw onto the surface, you can see the vertices are pushing outwards, right? Just like this. Now to show it better, you can subdivide the mesh again. Now for the dropsh there are some properties you can increase or decrease the radius. The radius meaning the have thickness of the brush, you can increase or decrease the thickness. If you increase the brush radius, it will increase the area of influence on the surface where the slapping action occurs. If you use a draw brush with a large radius, the bulge created will cover a larger portion on the objects, resulting in more noticeable and smoother transition. Similarly, if you decrease the brash radius, a smaller area will be influenced, allowing for more detailed and precise clapping. It is useful for details such as carving the fine lines or working on intricate features. Next, we have the strength the strength of the brush control how powerful or intense the effect of the brush is on your objects. It determine the depth, height, or amount of deformation applied during a single brush stroke. If you increase the strength, the brush will have a stronger influence, creating more pronounced changes in the object with each stroke. It is ideal for making bold modification or quickly building up shapes. A high strength draw brush will create taller pumps or deeper cars in the surface. If you decrease the strength, the brush will have a subtle influence, making lighter, more gradual changes. It is useful for delicate detail or fine tuning where precision is key. A low strength smooth brush will gently even out the surface without drastically altering its shape. Next, we have this operation called the direction. By default, it is on add effects. That means if I draw, it will push the vertices outward, right? And next we have the substract effect. If I enable it, it will push the vertices inward. You can see for PC, you can see it is pushing the vertices inward. Another shortcut that I want to tell you if you want to flip the effect or if you want to get the negative effect from the staying from this substract mode, you can press control. Control will allow you to switch to the different mode. Now I'm in substract mode, but if I press control, I can draw and it is in opposite mode you can see the buttices are pushing out. Similarly, if I go to the ad effect mode, and if I press control, it will push the buttices inward so you can increase or flip the direction of effects using control key. Another effect I often use is called the smoothing. If I press shift key, if I press shift key, I can smooth the area. And it is very helpful when you are modelling. When you want to smooth the area surfaces, just like this. If I increase the radius, The strength is too much, so let me reduce the strength. If I use the shift key, now I can smooth the area. Just like this, right? Another effect is called the fall off setting for brushes control how the strength of the brush decreases from the center of the brush outward. Think of it as the softness or gradient of the brush effect. By default, it is set to the smooth mood. That means if I draw, let me increase the strength, if I draw, the impact is very high at the center. And the transition is happening gradually. You can see the transition is much smoother, right? If I draw, you can see that there is a transition and the impact is very high at the center, and it is getting gradually. Next, we have this called the sharp. If I draw, you can see the effect is very sharp. Let me subdivide it more. And you can see there is very little gradient. If I go here, you can see there is if I draw just like this, you can see, there is no much gradient or fall off, right? The smooth fall off. If I change it to like Smooth. And if I draw, you can see there is a smooth gradient right here. But if I choose this linear, you can see there is a linear gradient, right? So this way, you can choose the brusses according to your need, right? Next, we have this call the draw sharp. The draw sharp brush in blender is similar to draw brush, but it is designed to create sharper and more defined details. While the draw brush typically produce rounded, smooth bulges or dips, the draw sharp brush focus on adding prizes or sharp indention to your model. While the draw brush makes moth soft deformation, the draw sharp brush creates sharper or more angular features. In short, it works like that draw brush but specialize in sharp precise details. One of the useful cases for the draw sharp brush is clopping hair trends or grooves. To achieve this, lower the brush radius to make it small enough for fine lines. Draw on the surface to carve sharp groups that mimic hair tends or locks. For additional variation, hold control to invert the brush or create sharp edges instead of groups adding more dimension to the hair clout. Next, we have the clay. I airs clay onto the surface. If you want to preview the brushes like these brushes do, if you go to the active tool panel and you can see the effect the brush do, okay? And now you can see if I increase the strength, it will add blobs. Okay, let me increase the radius. Maybe much bit more. Now you can see it is creating these effect blobs. It is adding the clay onto the surface. Next, we have this clay strip. It is like clay, but it is in lime or in strips. It is adding volumes to the strip, and it is very useful to add volumes, right? If you press shaped key, you can smooth out the surface or area. Next, we have this called the clay thumb. Next, we have the clay thumb. It is similar to the clay brush. It imitates the effect of deforming clay with the finger, accumulating materials during the stroke. Now, let's go to the clay thumb and it is clay brush, and it is accumulating the area and creating thumb effect, right? You can see it is creating thumb effect. It accumulates the area. Okay? So these are not so useful brush. Next, we have this called the layer brush. It airs layer on top of the surface. You can see it is adding layer. And if I again pull off the brush and again draw, it will draw on top of it. If you want to draw a single flat line, it should be done in one continuous stroke. If you lift the brush and draw over the same area again, it will add another line on top of the first, creating unevent result. To avoid this, complete stroke without lifting or adjust the brush setting if additional layers are not desired. The layer brush is ideal for creating controlled event deformation and careful stroke management ensures clean, consistent result. Next we have this called the inflate brush. I will inflate the area. If I increase the strength, now you can see it is inflating the area. Next we have the blob brush. It is similar to like inflate, but it creates the bubble like effect. You can preview the brushes here. So this is the effect, the brush to equate the blobs. Next, we have the rise brush. This is very helpful brush. When you want to add details wrinkles onto the face, you can use this cloth. You can use this rise brush, and you can see preview the brush in this setting in this active tool panel. And you can see it increases. Now, if you draw, you can see it is adding creases. Just like this. You can add details or add creases using this brush. Now that we have learned about essential brushes in blender, we are ready to take your slub ting to the next level. In the next video, we will dive into the secondary brushes exploring how they can enhance your workflow and add more complexity to your creations. See you there. 3. Lesson 2 Secondary Sculpting Brushes: Hi, friends. Welcome to this unit. In this unit, we will explore the secondary brushes in blenders clapped mode. These brushes are called secondary because they are typically used after the primary shaping is done. They help refine, clean up, and add finer details to your clap. We will also go over which brush to use in specific situations to get the best result. For demonstration, I have taken a default cube and given it four subdivisions using the subdivision surface modifier. Then apply the modifier. After that, I have added a multiregolution modifier and subdivided it three times, just like I showed you in the previous class. This setup is necessary so we can clearly see how the brushes affect the surface. Let's start with the flattened brush. As the name suggests, it allows us to flatten any strokes or bums you have created on the mass surface. To demonstrate, I'll first use the class tip brush to add some lines and bums to the surface. Now, I'll switch to the flattened brush and go over the strokes. You can see how it smooths out the surface, making it more even. A important tip to remember is that a smaller brush radius will affect a more focused area while a larger radius covers a broader area. At the strength and size based on your needs. Now let's look at the fill brush. This one is used to fill in low areas of the mesh, bringing them level with the surrounding surface. It works similarly to the clay brush, but it's designed specially to add volume to dips and crevis. To show this, I'll first create a dip using the flattened brush. Now with the fill brush, I can easily fill the dip. Now, let's look at one of my favorite brush. It is called the scrap brush. This brush is used to remove materials from high areas, which makes it the opposite of the fill brush. I'll use that draw brush to add raised lines. Then switch to the scrap brush and use it to remove materials from the side of the strokes. It is very useful for cleaning up surfaces, especially when you want a flattened surface, high points, perhaps for both organic and hard surface clupting like cleaning up muscles, planes on a face or mechanical details. Next, let's look at the multi plane scrap brush. It is an advanced version of the scrap brush. It flattens the mesh using two planes simultaneously, making it great for creating sharp edge and strong transitions between surface levels. This brush shines when slopping styles characters with sharp features, slopping hairs or working on clean mechanical shapes like armor or rocks. It might take a bit of practice to control, but it is incredibly powerful once you get the hang of it. Now let's look at another essential brush I often use is the pinch brush. This brush pull vertices towards the center of the stroke, tightening the mesh and sharpening edges or creaches. Watch as I drag it along the edges, it's creating a sharper, more defined edge. If you switch to wireframe mode, you will better see how the vertices are being pulled together. It is perfect for refining details, tightening folds, and making your clap look crisp and clear. Now it's time for bonus tapes. Bupot shedding air for met caps. You might notice that my model looks red. That's because I'm using a Met cap in the Bupot. To enable this, click the arrow icon in the top right corner of the three D Bupot. This opens the shedding menu. Here, under the Bupot shading, you can pick any Mt cap you like. Met caps gives you a quick way to see your model's form and detail without needing to set up lights. It's only for preview purpose, you would not see it in the final render. Here I'm using a red met cap to clearly visualize the surface details, which is super helpful when slopting The wrap up our lesson on blended secondary slopting brushes. Practice these brushes on your own models to really understand their strength. This concludes the lesson. I'll see you in the next one until then Happy blending. 4. Lesson 3 Deforming Brushes: In this unit, we will explore blended deforming brushes. These are essential tools for reshaping and adjusting the mesh. These brushes allow you to manipulate and deform the mesh surface in various ways, enabling a wide range of creative possibilities. The first, we have the gray brush. The gray brush deform a specific region of the mesh by pulling or stretching it. It's shortcut EG. You can adjust the brush radius using FK. By increasing the brush radia, you can effect a larger area of the mesh. This brush is particularly useful for making broad adjustments, repositioning sections, and shaping the model quickly. It is one of the most commonly used brushes in scupting. Next, we have the elastic deform brush. It is designed to deform the mesh in a stretchy elastic like manner. It maintains mesh consistency while allowing flexible reshaping. Use this brush when you need smooth natural deformation, such as bending limbs or adjusting body parts. Next, we have the snake hook brush. It extends the mesh outward, creating snake like shapes. To demonstrate, I'll reduce the brush radius and pull a section of the mesh. As you can see, it creates long stretched effects. However, at the end point, the mesh can run out of geometry, highlighting one of these brushes limitations. This brush works best with a dynamic mesh, which we will explore later using Ditropo. Next, we have the thumb brush. It simulates pressing the mesh with the thumbs, displacing surrounding area. In were frame mode, you can see its effect and more clearly. The impact is subtle, making it useful for fine tuning shapes and adding organic surface variations. Next brush is the pose brush. It allows you to create a bone like deformation effect. When you hover the brush over the mesh, a bone like preview appears, enabling you to pose and deposition parts of the mesh. This tool is especially useful for character plpting and creating natural poses. Next, we have the null brush. It gently pushes the mesh in the direction of your stroke. This brush is ideal for making small adjustments and aligning details without drastically altering the mesh structure. Next, we have the rooted brass. It roots specific region of the mesh. To demonstrate, I'll use the glasty brass to add volume. Then apply the rooted brush to twist the area. You can adjust the brush radius or strength as needed. This tool is useful when creating twisted shapes or adding dynamic movement to model. After making deformation, you can use the smooth brush to even out the surface, reducing harsh transitions and blending areas seamlessly. This concludes our lesson on blended deforming brush. Mastering these tools will enable you to reshape and adjust your model with precision and creativity. I'll see you in the next lesson. 5. Lesson 4 Special Helper Brushes: Idea. In this lesson, we will explore a few unique brushes in blinders Clapting workflow that are not meant for shaping in the traditional sense, but for making your slapping process easier and more efficient. Let's dive in. To help the slide relax brush. This brush is used to smooth out uneven areas by relaxing vertices without altering the overall shape significantly. To demonstrate its effect, I'll enable the wireframe mode from the overly setting to visualize the impact clearly. With this brush, I can relax some tense areas of the mesh. For better demonstration, I'll be using the snake hook brush to pull some section out of the mesh. Now, using the slide relax brush, I can ease tension in specific areas and smooth out irregularities. It is particularly useful for adjusting vertex distribution. You can control the bash size and radius according to your need for precise clapping adjustments. Next, we have the boundary brush. This tool is designed to deform mesh boundaries while keeping interior vertices intact. But the demonstration, I'll switch to object mode, hide the current object add a plane mesh. In the edit mode, I'll subdivide it few times for better resolution. After switching back to slop mode, I can use the boundary brush to deform the plane's edge. Remember, it only affect the outer boundary of the mesh. By default, its radius is relatively small, limiting its impact. You can adjust its setting in the active tool panel where you will find several parameters like deformation target, deformation type, boundary fall of boundary origin of set, et cetera. Let's change the deformation target from geometry to close simulation. Now the plane will behave like a pitch of fabric. Using the brush, I can deform the mesh boundary. Notice the white line within the brush radius indicating the extent of the effect. In the deformation type, we have several options. By default, it is set to bend, which allow bending the boundary with the brush. Switching to the grab type mimics using hand to fold cloths. In the boundary fall up setting, selecting brush radius confines the effect to the brush radius. You can adjust the brush strength according to your specific needs and explore various configuration to understand their effects better. In the boundary f of type, there are options like loop and invert fall off, which creates looped or inverted deformation. These settings are ideal for slapting garments like scars or shards. Next, we have the boundary origin of set. Determining how far the brush impact extends. By default, it is set to zero, affecting only a small portion. Increasing this value broadens the affected area. Let's switch the deformation target back to geometry. Increase the radius and set the deformation type to loop and invert. Creating product deformation. This follow up type is extremely useful for creating realistic plus like effect such as clapping plates in the skirt. We also have the deformation type twist, which rotate the affecting mesh areas. Additionally, there is a expand type which enlarge the deformation area, creating an event distribution. Adjust these settings to see how these influence the slapting process. Next, we have the cloth brush. This tool simulates realistic cloth physics by deforming the surface with fabric like properties. For better demonstration, I'll subdivide the mesh further in object mode for higher resolution. After returning to slap mode, I can disable the wireframe display. Now, using the cloth brush, I can create folds and wrinkles, making the surface appear like fabric. Adjusting the brush size and strength allows for more precise control. Subdividing the plane multiple times helps demonstrate the impact ally. This brush is perfect for creating detailed clos simulation with natural looking folds and creases. Lastly, we have the simplify brush. This brush works with dynamic and it's used to reduce mesh complexity by simplifying the geometry. While not always essential, it can be useful in certain workflow requiring lower mesh density. It efficiently simplifies the surface by collapsing unnecessary vertices, helping optimize the mesh structure for smoother performance during the slpting process. Now we will take a look at the past brush. The phase set brush is used to create and manage phase sets in vendor. Phase sets help organize and control different areas of your slub by acting like selection groups. They allow you to hide, mask or isolate specific parts of your mesh while slapping, making your workflow faster and more focused. To demonstrate this, I'll first go back to object mode. Then I'll press R plus H to unhide any hidden object from before. I'll be using this peer for the example. Now, switching back to slap mode. I'll do a few things to prepare. From the vals menu, I'll enable Wafam view so we can see the mesh clearly. I'll also disable the modifiers temporarily to keep things simple. Now, I'll select a facet brush and begin drawing over the surface of the mesh. As you can see, it creates a colored region. This is a new faced. When I click and drag again in a different area, it creates another faced with different color. You can create facets for any region of the mesh. Just click and drag the brush over the area you want to isolate. Once you have created the facets, you can perform some very hands operations like hiding ast. For that, hover over acts and press H to hide that area and reveal everything else. To unhide all, press Alt plus invert visibility. For that, hover over t and preshlusHT hide everything except the selected facets. This is super helpful when you want to focus on slopting a specific part without visual clutter from the rest of the mesh. Now that I have isolated the top part of the mesh, I can use any slopting brush in the focused area. For example, I can use the relax brush to smooth out A tens area, or I can use the pose brush to move or isolate the extruded top area more easily without affecting the rest of the model. This wrap up this lesson. I'll see you in the next one. 6. Lesson 5 Mask Brush: Hi, gas. In this lesson, we will continue exploring the brushes. We will be looking at the mask brush, which allow you to define protected areas while working on our model. For example, if there is a well defined area that we do not want to deform, we can use the mask tool to protect it. Here, we have the mask brush. With the brush selected, you can define the mask on the mesh. You will notice a black color appearing on the surface. The area in black define the mask region, which means this area is now protected. Using a deformation brush, I can now slap the non mask areas. I can increase the brush strength and radius as needed. As I pull the area, only the ar mask regions are affected while the mask areas remain untouched. We have several options for the mask. You can find it in the mask menu. In the mask menu, there are several options related to the mask. Such as we have the clear mask. It clears the mask from the model. The shortcut for this is control plus M. You can undo the action with Control plus G. Next, we have the invert mask. It will invert the mask region. So the protected and unprotected areas switch places. The shortcut is Control plus I. By clicking on invert mask, you can see the mask region flips to the opposite side. Now I can perform operations on the previously protected areas. Remembering these shortcuts can greatly improve your workflow efficiency. We also have options like the smooth mask, which will smooth the boundary of the mask, creating a softer transition. Or we have the sharpened mask. It makes the boundary sharp useful for defining edges. For example, when I pull the unmask area with a sharp mask boundary, the result is a defined edge. Similarly, smoothing the mask ensures a more simless transition. Which is great for organic shapes. Additionally, we have the grow mask options to increase the mask area or the sync mask options to reduce it. These adjustments allow us to control the mask region as needed. To clear the mask completely, press plus M. The mask brush is a powerful tool for modeling and works well with symmetry in the world, which mirrors the mask on the other side. Now I can invert the mask with Ctol plus I or by manually clicking the invert mask option to focus on the unmasked area. Using the draw brush with the substect effect, I can create I cavities. For the nose, I will create a mask for the nose region. Using Control plus I, I will inbt the selection. Now in the side view, I will use the grab tool to pull the sections outward, shaping the nose. This way, you can create or modify mask as needed to achieve precise clcting results. Next, we have the draw face set brush. This brush allows us to create face sets on the mesh. For example, I can draw a face set on the surface, and as X mirror is enabled, it will mirror the face set on the other side of the mesh. Now when I draw again, I will create a new facet. You can control the brush ras to suit your needs. Face sets are incredibly useful as they allow us to create mask or heart specific areas. For instance, press H while hovering over a facet to hide it. This let you hide parts of the mesh to focus on a specific working area, making it a handy feature for detailed clapting. Next, we have the paint brush, which allow us to add colors to a model. This brush works similar to artex painting. Here I have leg selected as the color. When I paint, you can see the black color applied to the surface. Since symmetry is enabled, the color is added to both sides of the model. From the color wheel, you can pick any color and draw over the surface. This brush is particularly useful when you one to preview the object with materials or add visual details. Next, we have the smear brush. Wach stretches the painted colors and blend it with the surrounding colors, creating smooth transition and gradients. Next, we have different kind of mask brush, each with specific use cases. Like we have the box mask, drag about the mesh to create a box preview, defining a mask on the model. For example, after creating a box mask, you can use the deformation brush to slap the unmask area. Next, we have the so mask, a free hand mask selection tool that allow you to draw irregular shapes. We have the line mask. It creates a straight line mask, which is useful for defining linear areas. Next, we have the polyline mask. It creates a polygon shape mask enabling more complex selection. After creating mask, you can smooth or sharpen it using smooth mask or sharpen mask options, as we have seen before. Next, we have the hide brush, which functions similarly to the mask brushes, but instead hide the selected portions of the mesh rather than masking them. Here are the types of hide brushes. We have the box hight brush. It hides a rectangular region. We have the eso hide brush. It allows freehand selection for hiding parts of the mesh. Next, we have the line height brush. I hide areas along a straight line. We have polyline hide brush. It hides polygon shaped areas. These brushes are particularly useful when you want to focus only on visual areas without the destruction of hidden parts. Lastly, we have different types of face set brushes, which are similar like the mask or hide brushes, but create face set instead. This include box face selection brush. It creates face set in a rectangular shape. Next, we have the free hand facet brush. It allows drawing free hand facets. Next, we have the line facet brush. It creates a straight line facet. Similarly, the polyline facet brush, it creates a polygonal facets. Facets are a great way to organize and control the topology of your model during slotting. In the next lesson, we will continue exploring the remaining brushes and their applications. See you there. 7. Lesson 6 Advanced Brushes: Hi there. Welcome back to the lesson. We are now heading toward the more advanced brushes. In this lesson, we will explore some of the more advanced clapping brushes. Let's catch date. Here we have the mesh filter brush. This brush allow you to apply various filters to the mesh. To demonstrate, I'll first add a mask on the sphere. Now, I'll select the mesh filter brush. Using Control plus I, I'll invert the mask. For the mesh filter brush, we have different filter types. Like first, we have the smooth filter. It smooth out the surface. On a flat surface like this, the effect is not very noticeable, but we will exclude this in a moment. Next, we have the scale filter. It scales the area. Dragging left scales inward, while dragging right scales outward. Next, we have the inflate filter. It inflates or deflates the area. Dragging left inflates inward, while dragging right inflates outward. Next, we have the spear filter. It deforms the mesh into a spherical shape. Next, we have the random filter. It randomly adjusts the vertices creating a distorted effect. Next, we have the relaxed phase set filter. It relaxes the face set, smoothing transitions. Now, with the smooth filter type, I can smooth out the surface. Dragging will increase the strength of the smoothness. Next, we have the surface smooth filter. It smooth the surfaces while retaining details. Next, we have the sharpen filter. It sharpens the edges and enhance the area. Next, we have the enhanced details filter. It add finer details to the mesh. We have the eras displacement. It erases the displacement or bombs resetting the surface. Next, we had the cloth filter brush. Which simulates cloth like behavior on the mesh to demonstrate, I'll first add a plane in object mode and subdivide it few times. After switching back to slap mode, I'll use the cloth brush to simulate cloth deformation on the plane. For the cloth filter brush, we have several filter types. Like we had the gravity, it simulates gravity pulling the mess downward. Next, we have the inflate. It inflates the mask area outward to demonstrate L mask part of the plane, invert the mask with Control plus I, and then use the inflate filter to inflate the mask area. Next, we have the expand. It expands the mask area, creating wrinkles. Let's first invert the mask and then select the expand filter. This filter expands the area outward, generating natural wrinkles. Be mindful of the strength as it can quickly exaggerate the effect. Use Control PG to undo if needed. Next, we have the pinch, it pulls the mesh together, creating sharpen and more defined wrinkles. Then we had the scale. It scales the geometry of the mask area. Finally, we had the color filter brush. Which modifies color on the mesh. To demonstrate, I'll use a spire switching back to the slough mode. Now I'll paint the mesh using the paintbrush. After cleaning the mask with plus M, I'll pick a blue color and paint it on the mesh. With the color filter brush, we have several filter types. First, we had the fill, it fills the area with a selected color. Next, we have the hue. I adjust the hue of the color. Dragging right will increase the strength of the effect. Next, we have the saturation. It modifies the intensity of the colors. We have the value, which changes the brightness or darkness of the colors. Similarly, we have the brightness, it brightens the selected area. Next, we have the contrast. It increases or decreases the contrast between colors. Next, we have the smooth. It smooth the colors, blending them together. Next, we have the red. It adjusts the red channels increasing or decreasing the intensity of red in the selected area. Similarly, we have the green, I adjust the green channel, enhancing or reducing green tones in the mesh. We had the blue, it adjusts the blue channel, allowing you to make the areas appear more or less blue. Next, let's explore the rig phase set brush. This brush allow you to edit existing face sets in various ways. To demonstrate, I'll start by creating some face sets using the draw face set brushes. Now, I'll select the dig facet brush, which offers several more. First, we have the grow facet. It expand the faceet outward by including additional geometry. Next, we have the sync facet. It reduces the size of the facet by excluding outer areas. We have the delete facet. I removed the selected facet, leaving it as part of the base geometry. Next, we have the fear position. It smooth out the surface of the face set, focusing on positional fairness. Next, we have the fear tangency. I smooth the surface while ensuring tangential alignment, maintaining better flow. We have the mask by color brush. This brush enable you to create mask based on the color of the object. For instance, when I click on a color on the object, the existing color area becomes mask. Now I can invert the mask using Control plus I and perform various operations within the selected area. For example, with the draw brush in substect mode, I can slot inward. Once again, I'll use Control plus I to invert the mask and draw over the nose area. This brush is particularly useful for isolating specific color regions and masking precise adjustments. With that, we have covered all the brushes available in blender slopting mode. You now have a solid understanding of the different brushes, their modes and settings. In the next lesson, we'll dive deeper into some additional slopting tools to enhance your workflow, C in the next session. 8. Lesson 7 Dynamic Topology And Remeshing: Hi there. In this lesson, we will be exploring two of the most important Claptin tool in blender, Diantopo and remesh. To demonstrate, I have added two sphere in the scene. One sphere has the multi resolution modifier applied, and the other does not have any multi resolution modifier. First, I'll enable the wireframe option from the overlay settings so we can see the topology of the mesh. Using the snake ho brush, I'll pull out some areas of the mesh with the multi resolution modifier applied. Let me increase the brush strength. Using the F key, I can adjust the brush dias. Now, as I drag out parts of the mesh, notice that the extended area has an event distribution of quartz or consistent boxel sizes. If I disable the multi resolution modifier, we return to the original base mesh. Modifiers allow you to non destructively add details to your model without permanently altering its original geometry. Currently, the mesh has an even number of polygon distributed across its surface. However, when pulling out geometry further, you will notice the mesh starts to break apart. This is the limitation when working with stretch topology as there is a insufficient geometry at the edges. To resolve this, I would need to subdivide the mesh repeatedly, creating an overlay dense mesh that could permanently crash your system. To solve the issue, we have a tool called diantopo. Diantopo dynamically adjust the topology of your mesh, allowing you to deform it without worrying about losing details or structures. I'll now switch to the other sphere without the multi resolution modifier and activate Dantopo in Slap mode. Upon enabling it, you will see a warning message stating that Dantopo does not preserve UBs vertex color or other attributes. Click Okay to proceed. Dantopo has several settings, including detail size, which determines the density of the geometry. Lowering the number increase the detail level. Using the deform brush, I'll demonstrate how Dantopo works. I'll enable the Wafame again, and as I draw on the surface, you can see it dynamically airs polygon wherever I clapped using the drawbrsh tool, observe how zooming in creates more polygon, while zooming out produce fewer polygon with larger phases. The detail size depends on your viewpoint zoom. Closer zooms result in finer details while further zooms reduce details. This localized subdivision is different from the event subdivision created by the multi resolution modifier. As Dantpo only add details where needed. Keep in mind that zooming out can erase fine details created earlier, so careful adjustments are essential. While Dantopo is powerful for dynamic mesh deformation, this joom dependent behavior is a key limitation to consider. Next, let's explore the remesh tool, which generates new topology for your object based on a uniform grid of boxels or quars. Remesh is ideal for creating clean event topology suitable for slapting. To demonstrate, I'll go back to the object mode and duplicate the sphere with hip D. Then switch back to the slap mode. Enable the mage of shin and note that you cannot use both Dantopo and reimage simultaneously. Now, click on the Remage button. The boxel size settings control the resolution of the topology. Decrease the boxel size to 0.05 and apply the image. You can now see that it creates a evenly distributed quad based topology across the surface. For quicker adjustments, use the shortcut R to preview the boxel size. Dragging outward decrease the boxel size, adding more details, while dragging inwards increase it reducing details. Once satisfied, press Control plus R to apply the image to the objects. With remesh, you achieve uniform topology, whereas Dian typo allows for localized details in the clapting area. Choose the tool that best suits your specific needs. Another important function of remesh is its ability to march multiple object into a single mesh. To demonstrate this, let's first delete all the object, the press shape plus A to add a cube. Next, I'll add a UV spare and a mess cylinder. Using the move tool, I'll reposition the object as needed. Additionally, I will rotate and scale them down to better arrange them. Now we have three distinct measures in the scene. To join this object, I'll select them all and press Control J. While these technically combine them into a single object, it does not yet create a unified mesh. If we switch to Werfme view, we can still see the overlapping sections of the individual objects. This means the objects are combined but not merged into a single cohesive geometry. If I go to the edit mode, I can still separate them back into their individual powers. This is where the power of remesh comes into play. Remesh allow you to fully merge these objects, transforming them into a single unified mesh. Before proceeding, it's important to apply the transformation of the objects to do this press Control plus A and select apply all transformation. Next, I'll set the origin of the object to its geometry to ensure everything aligned correctly. Now switch back to the Slup mode. With the objects selected, navigate to the remesh options. Set the boxll size to 0.05 and hit remesh. Instantly, the separate objects are merged into a single mesh with uniform topology. To make the changes more visible, I'll disable Werfmbw. To smooth out the surface of the newly merged object, you can spress and hold the shift key while using any brush. This quickly smooth out the geometry where needed. Let's switch back to the Werfmbw to inspect the topology. As you can see, the mesh is now very dense. If this level of detail is not necessary, you can reduce the boxel size. Press R to preview the quart size using the preview grid. Adjust the size by dragging. Then press Control plus R to apply the new settings. Switching back to WFM view, you will notice there are no overlapping section anymore. The objects are now completely merged into a single cohesive geometry. This is the strength of the remas tool. It is very useful in slapting for merging multiple objects while maintaining clear and event topology. With remesh, you can unify your model, prepare them for detailed clapping, and ensure a professional workflow. That's it for the lesson. I hope you found it informative and helpful. In the next lesson, we'll dive deeper into another exciting aspect of the blenders clapting. I'll see you there. 9. Putting It All Together: Sculpting a Cartoony Face: Hi there. In this practice lesson, we are going to do a simple cartoony face clapped, just to demonstrate how to approach Claptingbnder. Now, this is not going to be a super detailed or polish clapped. Instead, it's more about understanding the slapting process, how to build up forms, and how to think in volumes. Whether you are slapping a human head, a monster, or even a banana with eyes. The process is the same. You always start with the basic shapes, work in broad strokes, and slowly refine the details. Let's start. First, we will begin with a default cube, or you can add a spear if you prefer. Now, press one for the front view, then press Control plus two to add two subdivision labels. Now, before we jump into shaping the mesh, I'll use the nutate tool to draw a rough sketch of the face. I'm planning to sclub the sketch does not need to be perfect. It's just to give us a quick visual guide, an idea of where things like the eyes, nose and mouth might go. Feel free to draw your own version too, just to block out the character in your mind. This really helps when you are starting out. Once I finish drawing the face sketch with the nutate tool, the next step is to fill that sketch with geometry. At this point, think of the object as a digital clay and your job is to fill out the silhouette to match the shape and proportion of your sketch. I'll go into Edit more now and start editing the object so they fit nicely inside the rough sketch. Don't worry about the fine details yet. We are just building up the foundation. You can also use multiple mesh object for different parts of the pace. For example, here I am using a subdivided cube for the head. And I'm shaping it to sit comfortably within the outline of the face sketch. Now switching to side view, I'll shape it further to make it feel more anatomically correct. Even though we have not drawn a side sketch. Use your observation here to get the depth and proportions right. Same thing for the top view. One quick tip to remember is there about making the hair shape perfectly circular from the top. Instead, keep it broader at the back and slightly narrower in the front. This gives it a more natural and appealing cartoony fiel. I'll continue blocking out the rest of the head this way slowly and carefully. Don't rush this part. A solid blockout will make up almost 60 percents of the slopting wall. If you do it right, it will make the refining stage much easier and more fun later on. Once the head is blockout, I'll start adding more mesh object for the rest of the features, like the ear, nose, and even the neck if needed. This part of the process is all about building the structure. So take your time, have fun with it, and treat it like you are assembling pitch of clay to form your base character. For the years, I'm using the same subdivided cue and mirror to the other side. Simple and effective. This let us work symmetrically and save time. For the nose again, I'm sticking with the same subdivided cube. Just shape and position it to fit the front of the face sketch. For the neck, I'm using a cylinder. I'll scale it down so it fits nicely under the head and lines up with the overall proportion of the character. Now here is something important to emphasize. If you look closely, you'll notice that I have used two separate shapes for the head, one for the skull and one for the face. This is intentional, especially around the forehead area. You can see a clear separation between the face and skull. I have done this on purpose because once we remesh it later, that separation will blend in beautifully, creating a subtle transition that naturally defines the eye region. Now I'll switch to front view and select all the separate objects. Then I'll press Control plus J to join them into one object, then apply their transformation by pressing Control plus A and choosing all transforms. These steps is very important. It ensures that the slating brushes behave properly and don't act weird due to any non uniform scale or rotation on the mesh. Now, I'll switch to slap mode and then activate BxelRmhing. I'll press the archy to bring up the remesh resolution read. Here you can preview the boxel size, and for now, I'll choose 0.05 meters. That's a good starting point. Once I have set the resolution, I'll press Control plus R to apply the image. You will see how beautifully all the separate parts blend together seamlessly. It now looks like a unified feature digital play. Now I'll take the draw brrush and start defining the forms. The first thing I'm going to do is creating a dip in the eye region. Then I'll sketch in the eyebrow area with a few strokes. Since we have locked out everything properly, this part becomes much easier. Next, I'll start defining the shape of the nose and the ears, still using the draw brush. Now, I'll switch to grab brush and adjust the proportions by pulling or pushing the mesh to fix anything that feels off. Now, I'll take the scrape brush and scrape away some areas on the side of the forehead. Now with the draw brush, I will create a dip on the nose for the nostrils. Once done, I'll go to object mode and add a for the hair and subdivide it and scale it along the Yax, then I'll go to edit mode and edit it to resemble hair. Now, back in object mode, I'll input a sphere for the eye and place it in the eye socket. Now, with the face selected, I'll go back to slap mode. And in side view, I'll push the I region sideways. Now I'll switch to object mode and select the eyes and go to Edit mode. Now I'll add loop cut to define the pupil. Back in object mode, I'll add subdivision modifier using Control plus two and I'll also add a mirror modifier to mirror the I on the other side. Once done, I'll work on the here, select the here and apply the modifier. Also, apply the scale. Then go to slub mode and set a boxel size for remsh and apply it using Control plus R. Now with a drhar brush, I'll add some quiz strokes to define the here. Now, I'll take the draw brush and add volume to it. Holding the shift key, I activate the smoothing function and smooth out the hair. I'll continue defining the hair strengths with drawbushOr alternatively, I can use the Cris brush to define the hedge. For the mouth, I'll select the phase in object mode. Then switch back to slop mode. And with the dro brush selected, I'll define the mouth. As I'm making the cartoony phase, I'll place the mouth slightly sideway. Here I'm working with lower resolution. Once I define the features, I'll increase the resolution to add more detail. Now I'll take the pinch brush and define the mouth. At this time, I'll increase the resolution a bit more. Now I'll go on and define the pace. We are entering the detailed refinement stage. Now with the clast brush, I'll define the eyes, and with the door brush, I'll add more volume around the eyes. I'll move on and continue refining the model. Now, I'll use the scrap brush to create flat surfaces. This helps create sharp edge later on. Now, I'll work on the mouth region. I'll draw it again as smoothing removes the boundary. Since mirror is enabled, the mouth is mirrored on the other side as well. This is a mistake I often make while clapping. So noticing small things carefully is important. Now I'll work on the ear. For that, I'll use the draw brrush to add necessary features. I'll now use the scape brush to scrape away the area behind the ear. Now with the drawer brush, I'll draw around the border and define it using the crease brush. I'll go on and continue refining the model. Again, I forget to vel the mirror modifier for the year. Now I have to manually do the same for the other year. Let's do it together. We'll get some practice. Now, I'll continue refining our model to make it look nice. At this point, I'll increase the mess resolution to add more detail. Now, I'll refine the features on the face. Y y Once done, I'll now move on to the here. I'll do the same steps for the here again. I'm not making a model to present to an audience. I'm just showing you how to approach sclpting. Sclpting is a time consuming process, and you need to dedicate time to create a detailed model. Now I'll go on and finish adding the details. A a once done, I'll go back to object mode. Now I'll add color to the face using buttexPaint. For that, I'll switch to buttexPaint mode and pick a skin color. Now I'll fill the enter face with the color. To do that, go to the paint option in the top bar and choose set buttex colors. Now pick a red color and draw onto the cheeks and mouth. Now switch to flat shedding mode and with the smear tool, blend the red colors with the surrounding colors. For the eyebrow, I'll pick a dark brown color and draw over it. I'm going first here just to demonstrate the process. Now I'll add color to the I. For that, select the I then in edit mode, select one buttex in the center. Then extend the selection by pressing Control plus plus. Then create three materials, one white, one dark, and one brown for the pupil. Now ascend the selected parts with the dark color. Now enable material prebmd Now I'll add color to the here the same way I did to the face. I'll set a dark brown color and fill the entire object with the color. Now I have to link the material to the model. For that, I'll switch to shedding workspace. Now search for a color attribute node and input it. From the drop down, select the attribute and connect it to the principal BDF node. Do the same for the here. Now for the phase, I'll increase the subsurface value to add a skin like effect. Further here, I'll increase anisotropic under specular and choose a bluish tint. I'll also increase the sine value as well. As you can see, it gives a bluish tinted reflection and that's conclude the lesson. I hope now you know how to approve slapting. Slopting is not easy to learn. It takes practice, keep practicing and I'm sure you will be able to create amazing slap see you in the next lesson. 10. Class Project & Final Thoughts: Hey, again, now that you have learned the basic slapping tools and watch the full workflow of creating a simple cartoony phase. It's time for class project. Here is what you will be doing. Clap the same cartoony phase we created in this class using the blender slapting brushes we expose. Don't worry about making it perfect. Focus on applying what you have learned and enjoy the process. Once the slap is done, bring it to life with colors using buttex paint them blender. Add colors to the eyes, less face. Feel free to be creative. After you are happy with your scrub and colors, upload your final result to the project gallery here on Celsire. I would love to see what you create. I'll personally review every project uploaded in the gallery and give you feedback and tips on how to improve. Thank you so much for taking this class. I hope you had fun learning and creating with me. B sure to check out my other classes as well. If you enjoy this one, I have more coming your way to help you level up your skills. Piece clapting.