Sculpting Mastery in Blender

1. Introduction: Greetings. I'm online and on the air bringing you another skill shared tutorial because I strongly believe that it's skill sharing time. What are we waiting for? Let's share some skills. Welcome to the Sculpting Mastery in Lender Tutorial series. In this series, we're diving deep into the art and craft of three D sculpting using lender. Throughout the series, you'll embark on a creative journey to sculpting stunning objects from detailed barrels to intricate metal and wooden textures. Whether you're a beginner or looking into finding your skills, the series has something for everyone. We'll explore various sculpting techniques including Natco for dynamic topology, remesh for generating new mesh topology, and working with alpha brushes for fine details. Each chapter is carefully crafted to guide you through the process step by step. But it's not just about sculpting. We'll delve into the technicalities knowing the importance of UV maps, delve into the magic of normal maps, and understand the shader materials like the SDF principal shader for realistic rendering. Of course not. Sculpting journey is complete without a captivating render. We'll master V's rendering, bringing your creations to life with the power of lender's real time engine. Get ready to unleash your creativity and elevate your three D sculpting skills. Join me in this exciting tutorial series where we turn imagination into digital reality. Let's sculpt, create, and master blender together. 2. Polycount Preparation: I'm online and I'm on the air bringing you guys another skill shared editorial because I strongly believe that it's skill sharing time. What are we waiting for? Let's share some skills in this Torial. I will be covering sculpting in blender because I feel it may be the second step of building three D content. The second step in the pipeline. Pipelines are relatively flexible. I think everyone has their own preferences. It's important to try out different things and find, just figure out what works. Basically, we'll sculpt out a barrel. I have a low poly mug or barrel prepared for this tutorial switch over to the sculpting mode, we can't do much right now. The barrel is made up of several different pieces. Check out the outliner to see what is currently selected. Check out viewport, overlays on the top right, and tackle the statistics and wireframe options. We still can't do much because our polycount is still relatively low. We're still at the low poly model level. In order to sculpt this, we need to subdivide it or increase the polycount. There are many different ways of doing this. There's dinotopo, there's the multi rez, there's the remesh, and there's also the subdivision options. Let's explore each one. 3. Dyntopo Dynamics: Diynotopal. Diynotopal will dynamically generate topology as required when working with the mesh. The option is found in the top right section of the screen. Detail size will increase the number of faces. Dinotopal will create change detailing to constant, grab a draw brush and try drawing instantly, faces are created. The useful thing about this is you can keep creating topology on top of itself and create an interesting looking mesh. When making details, you require a higher resolution. If you try to work with higher resolutions like let's say 300, the system will lag or freeze. I wouldn't recommend experimenting with this, because your system will properly freeze. No topple is good in which you can create beautiful and interesting meshes, but when it comes to generating detail, it's not so good. Another limitation is if your sculp has a high poly count like in the millions, it may lag. 4. Remesh Magic: All right, let's talk about the remesh. Remesh modifier is a tool for generating new mesh topology. It's found in the top right. In sculpting mode, it's like the subdivision or multi is modifier will subdivide the whole mesh on the fly across between subdivision and notoplets. It's essentially like that. It will apply to the entire mesh shift R will give you a preview of the topologies density or voxel size control. R will apply. The set density options for the rematch can also be found in the property's editor data tab. Normally found on the right side. Mesh is trying to create evenly distributed quads across your entire model. But you got to be careful though. If you set the voxel size too low, you could end up freezing your system because that essentially increases the polygon count. You can see that in the statistics. If you set your voxel size to 0.001 and increase your mess resolution to the millions, you could freeze your system. You just got to be careful of that. Remesh is really useful if you want to work with alpha brushes. Things like rock textures or wood textures. Having that many faces means you can add a fine level of detail and use those brushes with a lot ease, it's a lot easier. 5. Crafting Textures: Working with alpha brushes. All right. Go to your properties. To brush settings and texture, we will add a texture, preferably gray scale. I have one prepared, but you can use wherever you wish. Click go to the texture tab and call it wood texture. Click open, Add your Texture. It should appear in the preview. We still can't see much. If we try to draw with the texture, we need to modify the way the brush tool draws in order to see the texture. Change your stroke method to anchored. Now when you draw, you can see the texture, however, the texture is a little strong. Let's reduce the brush's strength and try again till it looks nice toggle the mapping options to see different ways you can control this. 6. Mastering Stencils: All right, let's talk about stencils. Let's try the stencil option and use the space stroke method. The stencil will, it will give you a stencil image and you can really see where you're going to paint, which part of the image textures to the mesh. Now to move the stencil, right mouse button, that'll move the right mouse bun. The control right mouse bun will rotate your stencil and the shift right mouse sun will scale your stens, your stencil. Though, I believe these settings are for the standard Bender settings. I have a tendency of working with industry standard as opposed to regular Bender settings because like my first three D program was Max. I'm accustomed, I'm more accustomed to those kind of controls. Try different things and see what you like, what you're comfortable with. That's the important thing. Now the remesh is great for high poly sculpts with lots of faces where you want to add lots and lots of detail. But it's not as free as no topo which generates topology as you're working. 7. Subdivide & Conquer: All right, let's talk about something a bit less flexible and more basic parts. We've talked about this before, but we're here anyway. Let's forge ahead the subdivision modifier. The subdivision modifier is the most basic approach to subdividing your mesh. It's also not ideal for sculpting because it's inflexible, as I mentioned before, which is probably why I didn't consider talking about it before. But again, we're here anyways and I think it's important to know about these things. Even if it's injxablening car, it's not ideal for sculpting. Its initial purpose is to subdivide a mesh just to make it smoother. So go to your modifiers, time modifier, subdivision surface. Each level of subdivision will divide a base into four. But you've got to be careful with utilizing subdivisions in your three D pipeline, because if you unwrap, then subdivide your UV maps, could end up skewing. This is essentially dependent on your topology. The spacing of your topology is not equal, some of your polygons are thinner, some of your polygons are big and boxy like this. Then subdivide. What could end up happening is it's the subdivision will try to average out the topology, right? Because this stuff is thinner and that stuff is thicker and that averages out, Right? So the thinner stuff becomes a bit thicker and the thicker stuff becomes a bit thinner, right? And your UV, they could end up like skewing. Got to be careful with this. If you're subdividing stuff, I recommend either adjusting your approach, your subdivision approach or not Subdividing stuff that's utilizing hard edge modeling methodology where you like take an edge and you like level it because that would definitely create this kind of issue. Sure. If you just subdivided something like that. Let's talk about the different models here. There's a catclark, I'm, How do you pronounce that? This model approaches its average shape when subdividing? And then there's the simple method where when you subdivide, the mesh retains its shape, the polygons of topology, it doesn't get averaged out. Clark, the topology will get averaged out and get you could end up with skewing. We use that method. Just be careful with this. Subdivisions are used for smoothing out your model after the blockout phase. It increases the resolution of your polygons in your vertices before sculpting. I would not recommend it for that due to its flexibility for sculpting. I wouldn't recommend it for sculpting. You have to apply it before you sculpt this. You even be able to use this while you're sculpting you like. It's inflexible, as I said before. It's something that you'd also use for increasing the resolution of your mesh or rendering. 8. Sculpting Unleashed Multiresolution: Okay, let's talk about the multi riders. This one of my favorite multipliers. I don't know if it's like the best thing to use, but I like using it. I think it really depends on what you're doing. It depends on your pipeline. The Multi Rez works a lot like the subdivision modifier. It allows you to subdivide your mesh, but it has a few more features. It's basically subdivision but subdivision on steroids or subdivision. The subdivision modifier was a saying Multi res would be a super san's like that. It's a bit more powerful, it has a few more extra features. It's almost like Cat Point, it's using subdivision if you have multi reds, if you ask me honestly. You can edit the new subdivision levels in Sculp mode and you can switch between different levels of detail. Go to your modifier, add modifier. Faulty resolution. Subdivide, simply will maintain its shape, taking a face and subdividing it by just like the subdivision modifier, we can always go back to the previous level. As I mentioned before, the level of Viewport will display the number of subdivisions in the Viewport. Sculpt will display the number of subdivisions used in the sculpt. When you're sculpting, you're working on that specific subdivision level render is for rendering. When you render something, the rendered image will be rendered out with the subdivisions of that level, whatever set here. Essentially, you could be working with subdivision level three, but when you render, it's at subdivision level six. The rendered image, this is useful for working with objects in three D space by animating without using an overwhelming amount of system resources. Let's look at some of our sculpting tools. 9. Essential Sculpting Tools: Here are some of the more common sculpting tools you would probably be working with. Here's a basic draw tool. It will push the mesh out in a certain way. Drawing with control being held will indenture topology can always switch this. There are their options. All the brush tool options are on the top. There are also draw brush tool options in the side. Sharp creates a case holding, control, reverses it strips. This is like one of my personal favorite brushes to use. If you hold down the shift bun, that will smooth out your topology, You should try playing with these tools and just see what they do, what they're like. All right, let's talk about some of the smoothing tools. Most tools are pre self explanatory, so will smooth out the mesh. The process it takes, it will basically smooth out the positions of the vertices to either polish surfaces or remove volume from large shapes. Fat pulling and pushing your polygons towards our way from defined medium height. This medium height is determined A area plane within the brush radius fill is similar to F to the fan brush but only pushes surfaces upwards to the medium height. Seemingly it will fill in small crevices, scrape and multiplane. Personally, I like scrape, scrape and smooth. They're more of my preferred smoothing tools. When in doubt, just use smooth and scrape and you should be able to get by with most things just smooth and scrape. Honestly, scrape and multiplane, they're almost the same thing. They're similar to the flat brush but they only push surfaces downward to the medium height. I find using fatten fill or scrape works best in conjunction with smooth. 10. Sculpting with Masked Precision: All right, let's talk about sculpting what you want and not sculpting what you don't want to sculpt something else to watch out for. When you're sculpting, you could be sculpting something and accidentally sculpt the backside of that thing. There is a setting under the brushes which will prevent you from sculpting things in the back front. Bass. Only another way of sculpting what you want and what you don't want is to use a mask. There is the mask and the box mask. It works with determining which vertices can and cannot be affected based on what has been masked. If there aren't enough vertices, it won't work. You need vertices to mask. If you don't have vertices you can't mask, you need vertices. It's supposed to work with a high polygon mesh. Whatever is grayed out is mass and won't be affected when you sculpt. Holding control as usual, will get you the opposite result. While holding control, the mask will allow you to remove masked areas. 11. Mesh Checkup: Check for mesh errors. Before we begin, we should check for potential problems with our mesh, as any problem with our mesh can cause problems while sculpting and problems further down the three pipeline. Look over the model, check the face orientation. As we can see, some of the meshes in a different color, red. This indicates that the faces or the normals are inverted. That part of the mesh is inside out from edit mode under mesh, normals, flip the normals or recalculate outside. If you're having trouble selecting different objects to work with, you may need to switch to object mode, select the object you want to work with, then switch back. 12. Organizing Chaos: The same collection. Before we start sculpting, let's check out the scene collection and make sure things are organized, named, and making sense. The scene collection works the same way as a hiercule file system works on a computer. You have collections as opposed to holders. It's the same sort of idea. Right click and select New Collection. You can drag and drop the collections or assets in your collection. Anywhere in the scene collection, make a collection for upper rivets or fell rims, or whosoever you want to call it, the barrel sides or the staves as they're called, actually called staves. And the lower rivet hoops, the barrel top. In the barrel bottom, you can tell what's what because anything that's selected in three space will be selected. In the scam collection dragon drop things, see if you can organize it a bit. The options on the sides will notify if an item or collection of items are selectible or viewable or if they can be rendered. If an option isn't here, check the drop down menu, It will give you options for table. 13. Sculpting with Style: Okay, let's sculpt. It's sculpting time. Now that we have gone over the basic tools, let's use the tools to actually sculpt something. Let's start off with the wooden sides or the stage. Step one, increase the resolution of our mesh. I prefer working with Multi Res. You can use any method you want, but I'm going to work with Multi. I have my resolution set to six levels, which gives me a resolution of just under 1 million polygons. It's just for a single state. I have everything separated. You can merge them together. Merge them together separately. But if you're merging together multiple objects and each object is like 1 million polygons, then when you're finished merging, then you're going to have a mesh that's like over 10 million polygons. And if you get a mesh that has too many millions and millions of polygons, you're going to start having magging problems. It's very heavy. Your system is going to have trouble managing that. I guess it depends on how powerful your system is. By chance, you'll have trouble with that. Just something to keep in mind. Now, we will scrape off the sides of the wood pieces. We'll use the draw sharp to make some simple up and down lines. To start off with the clay strips. Gets more chunkier edges better than the draw sharp. Step number five, we're just going to be gradually adding more details howling in between these tools. The draw sharp, these will be a bit more jeggityp. The clay strips draw sharp. Again, these will be a bit more jegity, as I just stated. As I said before, where you go where you say step six, you can use clay or clay strips to chisel away at it. That will give it a, it'll give it more character. Just modify the silhouette of your staves a little bit. It'll make it look more more interesting. Step seven. Step seven. Be certain to give the wood some knots because wood tends to have knots in it. Step eight, just keep adding and subtracting and modifying until you get a nice design that you're happy with. A nice cross between design and randomness. This type of wood is more cartoonish, it's more stylized. When you're doing this work, you should consider the style that you're aiming for. Different styles will have different kind of looks. If what you're making is part of a scene or a set, it's important to maintain consistent style throughout. Otherwise, it's going to look strange, it's going to be very jarring. Just just try and keep your style in mind. Just try and keep that in mind. It's very important. Otherwise, things will pop and look weird and cartoonish. I like the look of a cross between cartoonish and realistic. I think that type of variation is very interesting. 14. Importing Stylish Brush Magic: Okay, let's talk about modifying our brushes so you can get different effects and stuff. Appending brushes, basically we will append a brush from another bend file, go to file, append, and navigate to the brushes. The orb brush pack should be available online for free. Do Google search. If not, I'll leave a link in the description. Navigate to the orb brushes blend file. Go to brushes. Select anything that says orb. The brushes should appear in your draw brush tool said thing. 15. Sculpting Rough Metal Parts: Sculpting rough metal parts. Now let's do the metal parts. Like the wooden parts, we need to subdivide our mesh so we can sculpt it. I have my resolution set to six levels, which gives me a resolution of just under 1 million polygons. Again, we're scraping off the sides of the metal pieces. We're going to use some special brushes for the metal textures that we loaded from before brush pack. We're going to use one of those brushes. Select the hammered metal and use hammered metal from the orbs brush pack. Use rock Noise brush and add some rustiness details. You may want to create a small dent where the rivets are. Use the scrape and various ore brushes for the bolts, for the rivets. 16. Crafting Top and Bottom Marvels: Don't forget to sculpt the top and the bottom. As you can see, it's one solid piece, which makes getting between the staves difficult. If you wish, you can separate the staves and sculpt them separately. Go to Edit Mode. Mesh separate by loose parts. This should separate everything. You can use a stencil to sculpt some of your wooden pieces. Once everything is sculpted, you can join your sculpted objects together. Select your objects, right quick. Select join. The details should be maintained, but the subdivision of your joined objects should be the same. Otherwise you could run into problems. Just make sure that it's the same level of detail before you actually join them. 17. Style Fusion Realism and Cartoons: Okay, let's talk about style. I mentioned style before. I want to talk a little bit more about probably end up repeating a lot of information. But you know what they say about repetition. I'm certain that there's a saying about repetition, about how it's good for learning things or something like that. I'm certain there is. I'm certain there's something out there. This manual sculpting method, like I commented before earlier, will give you a cartoonish style working with stencils will give you a more realistic look. When you're sculpting or modeling, you should consider what kind of style you're aiming for and models or sculpt with that in mind, trying to make sure that what you're building has a consistent look. I like combining cartoonish and realistic. I feel that it creates a very interesting style. You can combine the two sculpting with stencils to get an interesting interesting style, or you can just stick to one or the other. Whichever foltable might just go with like stencils might be easier to just use stencil, honestly, if you like sculpting cartoons or combine. That's cool too. 18. Sculpting Applications Unveiled: I'd like to discuss the significance of sculpting, like why do we do it? Other than it being really cool, what kind of practical applications are there to doing three D sculpting? But one purpose of high poly three D sculpting is the generation of normal maps are normal maps. Normal maps are textures that simulate intricate surface details on a low polygon model by encoding information about the surface normals, the directions at each pixel. They're sort of like bump maps, but bump maps on steroids. If bump maps were like regular sines, then normal maps would be like super sines. It's like that. What are bump maps are? Says what are bump maps? Let's talk about bump maps. Because bump maps are, I think bump maps are easier to comprehend than the normal maps. Generally speaking, bump maps are gray scale images where the shades of gray represent variations in height or depth. The darker areas indicate lower points, while lighter areas represent higher points. Essentially, bump maps and normal maps will try and make your textures appear more three dimensional high poly sculpting artists or designers create a detailed high polygon three D model with intricate surface details using sculpting tools. We're doing poly sculpting, this is what this entire tutorial is about doing high poly sculpting started off with this. This model is often referred to as the high poly or high detail model. A low poly base model, a simplified version of the model, the pure polygon. This model is referred to as the low poly model and is typically the one used in real time applications or situations were resources are critical. The application to low poly model, the generated normal map is applied to the low poly model in a three D graphics software or game engine. This gives the illusion of the detailed surface features from the high poly model being present on the low poly model. Using this technique has several advantages. It's efficient efficiency being one of the advantages. The low poly model is more efficient to render in real time applications. Making it suitable for video games, simulations, and other interactive experiences. Resource optimization. Normal maps save computational resources by simulating complex geometry without the need for rendering each detail explicitly in low poly models and detailed preservation the high poly models intricate details are preserved and applied to the low poly model, allowing for visually appealing and realistic results. 19. UV Maps Demystified: Generating UV maps. I didn't want to get into UV maps, but I felt that it was important to do this project and somewhat relevant to sculpting. Before we can generate normal maps, we need UV maps on our mesh objects. What are UV maps? Uv maps are two D representations of a three model surface UV map. Uv's refer to two coordinates in texture space. In three D space, you have x, y, z coordinates. In texture maps, you have UV coordinates in no way related to the UV rays. It's a completely different, it's not related to the sun's UV rays. Then there's no such thing as ultraviolet ray maps, that's not a real thing. Okay, let's build some simple maps just for the purposes of this tutorial. Without getting into finer technicalities of the UV mapping process, this isn't exactly the proper way of building UV Bps. I'm just going to do it this way just for the tutorial. Go to your UV editing tab, That's the first step. First step in your UV editing tab. In object mode, select the mesh you want to unwrap. I'll do three maps for good practice. The top and bottom, the staves and the metal parts. I believe breaking up your maps is relatively good practice because it'll actually allow you to increase, like double, or maybe even triple, the amount of detailed resolution that you can get on your text or maps. But with more UVs and Maps, the more convoluted your thing could get. You have to be careful with it, you have to be tactical. Go to edit mode, select all the polygons of your previously selected objects. This is a step two. Go to edit mode, select all the polygons of your previously selected objects. You should only be able to select the polygons of what was previously selected in edit mode. Now for step three, go to UV Smart UV project. You should get something like this that should unwrap part of your mesh. Now rinse and repeat for the other parts of your barrel. And whatever you do, do not overlap your UV's. We're dealing with normals which they're partially dependent on three D space. If you overlap the normals and try to generate UV maps with overlap normals, overlap maps, the maps will get confused, it won't display property. You need to keep these things separate, especially if you're dealing with UV's. I know you're thinking, oh, if I overlap the UV's, you can save space or something like that. That doesn't work with UV. That does not work with normal match, ill cause problems. Don't do that. Don't overlap your UV's. Don't do it. Don't do that. Trust me. Don't do that. 20. Normal Map Shader Setup: Setting up normal map, shader and texture. Before we can bake, we need to set up where we will bake the normal maps too, if that makes sense. We need to set up the texture map. We need to set up the file, or the Jpeg file that these normal maps are going to go to, or the Photoshop document. We have to set it up first before we can actually bake it, we need to be able to bake it onto something. Switch to the shading tab, reduce the resolution of the multi res objects you want to normal map zero, create a new material and call it something like staves or something that makes sense. At this will be your Staves material. It'll contain your texts and your normal maps and all the other. It'll contain everything that will be displayed on your object. If that makes sense, click new and name the texture normal map, or normal map stays, or something that makes sense. And set the size to 40 98 by 40 98. Set the color space to non color. That's for normal maps. It's important that you recall this because this is very easy to miss. It's very easy to forget. Set the color space to non color. That's for normal maps. You should be able to see the texture in the image editor. Viewport to the left. There isn't actually an external file yet. All this stuff is internal right now. You have to save it out to actually get the J peg that will be displayed on the mesh. It still works. It's just that this is all internal. All this stuff is inside of Bender. It's inside the Bender file. Right now, there isn't actually an external file yet. You still need to save it and you won't see anything yet because we have yet to generate the normal map that will appear here. We should be ready to bake out those textures now. We should be able to ready to generate the normal map that will appear over here. 21. NormaBake 3D Textures: Generating normal maps. Make sure the objects you want to generate normals for the multi res resolution is set to zero if that hasn't already been done. Now from the Properties tab on the side, select Render tab, change the render engine to cycles device GPU. Scroll down to Bake Selection or Bake. Select Bake from Multi res option and change bake type to normals. If you get an error, that probably means that an object you are trying to bake from doesn't have a corresponding material shader associated with it. Select all of your objects and make sure the material shader is associated with all of them. Then bake, you should get something like this. 22. Linking Normals to Shader: Connecting normals to shader material. We still can't see anything. The normal maps have been generated, but they haven't been connected to our material shader. We can tell it's an object that has a shader because when we change the color, the object color changes to drag out the normal map color out of the image texture node. And the color link connected to the BSDF nodes normal link, it should appear. Now the normal maps are sort of like an optical illusion, but the geometry is still flattened. If you increase the subdivisions of your multi rez slightly by one or two levels, the geometry will hug the topology. The high poly sculpted silhouette better giving it more visual appeal. This is essentially like a poor man's retople'seap. I wouldn't recommend using this technique. You probably get better results if you actually retopologized your mesh as opposed to using this method. This technique. But hey, it's something to consider, This will increase the subdivisions a bit, but as long as it's not in the millions or a hundreds, thousands or tens of thousands, it should be okay. 23. BSDF Principal Shader Mastery: The BSDF principle shader materials. I actually did not want to get into the BSDF principal shader materials, but since we're here, you might as well. It's relatively easy and straightforward. At least I think I believe it is. I believe it is. It will make your work look, it'll make it look much better. Bsdf stands for Bidirectional Scattering Distribution Function. I believe this is exclusive to blender. I find that a lot of three D packages have similar yet different systems. They all seem to be a bit different. We're focusing on blender right now. Sdf, Bidirectional Scattering Distribution Function. It is a mathematical model that describes how light interacts with the surface. Its parameters are metallic roughness and O R or index of refraction. The metallic channel determines how we metallic a surface is. Basically, it's essentially chrome. It's chrome, Chrome, chrome. I know that's not a real word, just level with me here. How much like chrome a surface is going to look zeros. Like non metallic. Zero will be like plastic or wood. We're working with wood right now. This is good to have. We're working with wood, one would be very metallic and we'll have a very chrome copper or some kind of metal roughness. The roughness channel controls the micro facet roughness of a materials surface. It's basically like your specularity, which determines how light is bouncing off of surface. Think of a black pool ball that has a high of specularity. This is what back pool balls are, bowling balls. Back pool balls and bowling balls tend to have a relatively high level of specularity. This is a statement or rather a low level of roughness, roughness and specularity. They're opposites of the same thing. Do you understand what I'm trying to say? They're related to how light reflects off the surface. The higher the specularity, lower the roughness, the higher the roughness, lower the specularity. They're like the opposites of the same scale. Basically, the OR channel represents the index of refraction, Which is a property that describes how much material bends or refracts light. It's particularly relevant for transparent materials like glass. We're not dealing with transparent materials. Let's leave the OR alone, leave a 15 or 1.5 or wherever the you called setting. Just don't touch that stuff. Just leave it play with the metallic and roughness settings, see if you can get something closely resembling wood and metal. 24. Eevee Rendering: Finally, let's render something so we can have something to show to other people from properties, switch the render engine to V. Rendering from V is it's a bit faster. We'll use EV to render pictures as opposed to cycle cycles. We'll use cycles for rendering normals. Select the render tab on the top left. Go to render image. It should take about a minute or two, or five, depending on the level of detail of your scene, depending on the type of render engine that you're using, and depending on the performance of your system. There you have it. Nice barrel, nicely rendered with textures and normal maps and basic materials and what have you. Now you have something, hopefully you have something that you can add to your portfolio. You have something that you can show to other people, show to a potential employer, and maybe you can find work making three D sculpts and stuff. That'll be cool. Remember, you can study as many tutorials as you want, but if you want to become good at this stuff, studying these things, studying the basic, studying these tutorials isn't going to magically make you amazing. If you want to become amazing at doing this stuff, you actually have to do this stuff. I encourage you guys to try modeling and try sculpting something and rendering it out. And I'd really love to see what you guys come up with this. Yeah, this is how you developed this skill set. You developed a skill set by don't just study it, do it basically you need to do it. I don't know, I can't stress this. I don't know how else to explain it, besides saying that you really need to do it. You need to practice it. You can't just study about you actually have to do it.