The Smurfs! A Nomad Sculpt 3D Modeling Tutorial

1. The Smurfs! Intro: There's a Smurf. Do Smurfs have tails? Welcome to another Nomad Sculpt tutorial here on Skillshare. My name is Dave Reed, and today I'm bringing a bit of nostalgia with some really cool cutting-edge 3D Sculpting. We're going to use Nomad Sculpt. That's a 3D Sculpting Application on iPad, iPad Pros, or Android tablets. I've been drawing and sketching for about 35 years. I've illustrated some amazing children's books. I've also created illustrations for major institutions like the Museum of Natural History in New York City. If you're just getting into 3D, this class might be a little advanced. So I would suggest one of my beginner classes. But if you've been working with 3D for awhile and you're ready to take it to the next level, then I would suggest taking this class. So once we ever character is pretty much blocked out, then we can start modeling and Sculpting so that they look a little bit more like Smurfs. And after that, we'll make any adjustments we need to. And then we'll start at voxel, remeshing the shapes take. So once we have our Smurfs blocked out, put together, voxel remeshing, then we can start lighting. Once we have our Scene lit, we'll do some simple Coloring. If you want to make different colors, Smurfs, of course, it's up to you. You can have some Fun with this project. After this class, you'll have the patients and the confidence and just a formula to be able to pretty much 3D Sculpt any character that you want to make. So with that said, I look forward to seeing you in class. Once again, I'm drug-free, Dave. Keep drawing, keep Sculpting, and I'll see you all on Skillshare 2. Class Project: Welcome to the class projects. So there's a few parts to this class project. The first thing is the main Smurf. You don't have to do the Trio of Smurfs. If you don't want to, you can jump to, I think it's video 32, 33, but it's the video called lighting and Coloring. But if you're ready for that challenge, which I hope most of you are, you can do the Trio of Smurfs. That's very complicated and complex. It's actually a lot easier to Sculpt something once you've already sculpted it. So it's not going to take as long as the first Smurf. Because in that Smurf, we're going along, we're figuring out the best way to get everything done. But then once we figure that out, we can just use those for the other three. For example, will make one body and we'll use it for all 31 leg. And then we'll copy and paste that for the other ones and just tweak as we need to. So there's a lot of really interesting things that you learn. And I hope you're up for that challenge in the next video. Also, there are a few tools that I'll be using throughout the tutorial. So make sure to just follow those so you have the tools like a rounded edge, smooth color and things like that. If I don't mention it in the next video, then I'll mentioned it before. I use it. Also makes sure that you download all of the files from Projects and Resources. I have the reference images, including the reference image for the word the Smurfs. And also I have some sample images that I made and also I have mine Nomad Sculpt Project. So if you ever run into any issues or if you want to see how I have something put together or if you just want to see my file, then at least you have that that you can look at. Just make sure that you save yours before you open up mine or before you close it or anything like that. And with that, I think we should jump into the next video where we can finally get started. 3. Getting Started: Alright, so here's the scene that we're going to make this as a 2D. I think this is probably the original sperm Smurfs. So we're going to make this a Nomad Sculpt. I'm just going to crop it in Procreate. And then we're going to start with bringing our reference images into Nomad Sculpt. So there's a few things that we want to do before we get into our Sculpting. So first, I want to change my, the material of our mesh. So this is just a sphere mesh. But I want to change the material to a mat cap. We'll make it easier to Sculpt. So we want to go up here to the sun and we want to change it from LET PBR, which is just LET PBR is just regular material, meaning like right now it's like white and shiny. That's your, that's the material that this is, but we're going to change it to mat cap. It ignores all that. It ignores the lighting and it makes it easier to Sculpt with. The next thing is we want to make sure that we're Sculpting an orthographic view. So we go here and we make sure that we have orthographic that just makes sure that keeps from perspective distortion. And when you're, when you're Sculpting, you don't really want things looking bigger and smaller depending on where they are. You just kinda, you want to Sculpt as cleanly, as cleanly as possible. And then you turn perspective off. Then you turn perspective on afterwards. And it's gonna be in the proper perspective. So now I'm going to quickly walk you through two tools that are used very often, rounded edge and smoothie pool, but you can call it just smooth color. So we'll just call this smooth for now. So round edge, smooth color and I'll show you what they both do. So you don't have to do this. I'm going to switch back to let PBR just so I can show you an example of what we're doing here. So if I add a box and I validate it, now, if I want to round out these edges, I can use round edge and I can start in the middle. I can drag it out. You notice, when will this go away? Just pinned. And you notice that all the edges are round. So I'm gonna do that again. I'll turn on the wireframe. So I'm gonna start in the middle and then I'm just going to go like this. You see now it becomes rounded. So you can do this more or less. But I wind up doing this a lot as we go along. So I'm gonna show you how to make this rounded edge tool. So really quickly. Basically you want to take your smooth tool, tap on it, and then hit Clone. And then you can name it. Will name it round, round edge. Okay, so then it shows up here and this will be your active Tool. So once you have that, you want to go into your Tool Settings, you have some settings here that we're just going to leave. And then we go to this little pencil thingy. And then we go down. We have dot log radius lock intensity. So we want to lock radius. I think that's all for this menu. Then you have alpha, this should be fine. Then you have falloff. So for fall off, we just want to make it straight. So we're going to tap here straight. Whoops, go to preset. Here we go. So we want to leave it here. Filter. All this should be is just default. And then we have pressure and you want to uncheck, Use Global Settings. And then you wanna go down to these two preset. You want to tap them both and just do straight. And tap this one and do straight. Like so. Once you have that, you can go to your Tool and you can tap it. And you can hit Save, confirm Save. And now you have your round edge tool. It will stay there as you come and go out of nomad. So you want to start in the middle and just drag out. You will see that it will get, the edges will come smoother. So of course, just so you're aware, as we go along, we're going to voxel remeshing. If you've ops. So remeshing this high, then it's not going to smooth out to too much. But if you, and this is a shortcut, this is a voxel remeshing shortcut. This is the same as going up here for voxel. And see where is it voxel and then remeshing. So this is the same as just a shortcut. Whoops, I keep hitting voxel remeshing. But if you want to make it even rounder than you want to, voxel remeshing lower. So this is going to, this is going to remove geometry from inside your square. So let's say we did 40. And then we can do it and it'll start smoothing out a lot. That's a general rule of thumb. If you voxel remeshing high, then that's great for more detail because it's not gonna be as valuable. But if you voxel remeshing low, then it's gonna be software and you can do that as much as you need. You just want to pay attention because once you have a lot of detail, you don't want to voxel remeshing alone. Okay, So speaking of voxel 3D mesh low, we also have smoothie poof. So we're gonna do the same thing. Take your smooth tool, tap on it, tap clone. And we'll kept, we'll call it smooth color. Okay, So now we have smooth color here. So this is the active Tool. We're just going to bring the intensity all the way down. Don't know what happened. So smooth color were being the intensity all the way down the radius doesn't really matter too much. Then we can go here, save. And yes, so now we have round edge and smooth color. And I'll show you what smooth color does. We'll just take Select Mask and let's just color this two different colors. So we'll go with a glossy. And then we'll take our mask and we'll invert it. And then we'll color maybe matt middle. Okay, so we have our, we have this painted, let me clear my mask. So now we have these two colors and we want to smooth them. So we're going to use Smooth Color and doesn't affect the topology of the, of the sphere at all. Actually two nice colors that I did. Again, this works better when you're voxel remeshing lower. If you voxel remeshing high after this, then it won't smooth as well. So this is nothing that you kinda have to pay attention to as we go along, but very useful and makes for a very pretty blend. So another thing that we might do as we're going along is called decimating. So decimating again removes geometry from whatever shape that you decimate. And it's really good for bringing down your file size. So I'm gonna do this often. And usually when I decimate, I use round edge on whatever it is. And I'll go over it a couple of times with round edge if I need to. Or you can do it without but decimate, you will want to just come here. And we go to Misc, and then we get our miscellaneous. And then we go to decimate right here. So when you decimate right now, this side, this sample box is ten K. So then we go to miss decimate. Now it's 5,000 and now it's 2000. And you can start to see a little bit of this sort of thing happens if I hit Undo. You see how it changes a hit Undo again, you see it's the smoothest. So that's just something that we're going to have to do and you have to weigh out the integrity of your shape with the size. But I liked this box, so I'm gonna keep it for now. I might decimate it later, but for now I'm just going to hide it because we don't need it. And let's add a sphere. Okay? Okay, so now we have all the business out of the way. Now we can get to the Fun stuff. I'm just gonna hide this and add a sphere, even though I said that a sphere in the last video, but that's okay. So let's bring in our Smurf reference images. And if you don't have these, make sure you download them from the Projects and Resources. Tab on Skillshare. And I have everything will be available there. All of the images that I use here. So we want to go to this little picture icon and then we want to use reference image. Then we tap on the Image, import photos. So wherever you saved them and that's where you want to bring them in. We can actually bring them both in and just hit Add, and then they show up in our reference image library. So we want to use this one first. We want to hit Transform. Then we can place it kinda out of the way. So you can just use it as a reference. So I think that's pretty good. Okay, So we have our reference image, Image, we're rocking and rolling. So the next thing, I don't know why, I don't know why. So then the next thing that I'd like to do is make some sort of ground or some sort of floor. So this, this way it just gives me a base and I can get rid of this grid because I don't really like the grid too much. I think it's a little distracting. So I'm gonna go into the Scene menu. That's where we add all our, all of our shapes. I'm going to add a cylinder. For now. I'm just going to shrink the cylinder and I'm going to use that red line, which is our horizon line. I'm going to use that. I'm probably make this a little bit bigger. So I'm gonna hit gizmo. Make this bigger, maybe like that. And just make it smaller. So just something like that. I think it's good. I'm going hit gizmo again. And I want to make this a little, a little rounded. I'm just going to tap these three little dots. And with this to two. Then I'm gonna hit validate. But we're going to jump to the next video where we're going to continue to Blockout are Character just using regular primitive shapes. We're just going to get a basic overall. Just build all of these parts. Nothing too crazy for now. We just want to get these basic shapes in place so that we can make our little Smurf 4. Character Blockout: I a pause to sneeze, but I was successful. Okay, so now we have this cylinder which we're going to call the floor. So we just go back into our scene, three dots here. And FSLR works for me. Then we have our sphere, which I'm going to use the gizmo again to me, just move up. And I'm gonna get rid of this grid. So I'm going to tap Create here. I see some, oh, okay. I thought my there might've been newer options because this application updates all the time. Alright, so we have the floor, we have our sphere, and we have our reference image. I think. I think, I think we're good to start Sculpting. So the first thing is obviously this is to the side. So we want to make all these shapes and then just put them together. That's the easiest way to make things. Just break this down into individual shapes, individual pieces. So whatever, however complex something looks, it can always be broken down to very simple shapes. And eventually you'll just start to see it as shapes. So first I'm gonna move this sphere up and let me turn it back to mat cap. I want to, I think I want to start with the body. I like to start with the body. It's kinda like a good, good base. So their body is sort of like a teardrop. It's just like a teardrop shape. So we're persevere and I'm just going to validate it. And we just want to make this teardrop shape. The way that I usually make that is we use the symmetry. So if we go to symmetry here, I'm going to scroll down to show line. And I actually usually keep, keep this on all the time. So we do show line. We can see that our extra symmetry is selected here and you can see the red line here. So that's our X assymetry. That's why you see that red line going around the whole thing. If I tap on this, you also see a red line. So we go back to symmetry. And we can also do the blue, the blue Z axis. So as you can see down here now there's like a red line and a blue lines. So we want that for the sphere. So we want to go here as well and just tap the blue. So now we have both. So what we can do is drag up and it will drag this up until we get a tear shape. I like to use move for that. You can see everything is selected, but of course, that's not going to move symmetrically. And unless you have symmetry selected here as well. So we tap the symmetry, make sure you're on the right shape. And then we can just drag this up. I'm going to tap front so I know what I'm looking at the exact front. Use Move tool My moves, the size is for the pixel size, it's about 02:40 or so. And then I'm just gonna drag this up like this. And maybe just kinda make it a little bit more. Smurf II, Smurfs, like maybe pushed the bottom-up a little bit, something like that. So I think that works. I think that's pretty good. And turn it to its left side. You basically just want to look at the reference and just, just make like a nice little teardrop. Anything like that I think should work. Look at it from lots of different angles. Just make sure it's make sure it's good. And obviously he's turned, but I don't want to. Usually when I start to sculpt the shapes, it doesn't really matter which way they are. I just want to get the life of the shape and then we can, and then we can plug it in afterwards. The arms are pretty much they look like straight cylinders. And then we have this arm shape here, which I think will be around cylinder. And then we'll just use some spheres for the fingers. Maybe some pill shapes for the is very pills shaped fingers. So, you know, systematically we'll just work through it. So next, let's change the name of this two body. Okay, so we have Fluor body. So let's add another cylinder here. And I'm going to tap Gizmo so I can move this around. So I'm gonna move this up and just shrink it. And maybe I'll just move it over. So I'm going to shrink it. And judging using the body as a guide, like I want to make the arm essentially the size that it looks like. So maybe around this size. And is arm isn't too long but it looks like it could be about the same length as the body. Will stretch the arm out to maybe around there. So that should work. I'm going to rename this arm because this arm he has is straight. So let's make a sphere for the head. It looks like a sphere. It might be like a little bit of a there might be sounded like a little bit oblong or something like that, but definitely closest to a sphere. So that's the shape that will add Sphere here, like gizmo and bring it all the way up. And let's see, the head is bigger than the body. So we want to make the head bigger than the body. Okay, so something like this. I think that I think that works. So okay. So he has this little his little bottom here and he has this leg coming off. So I think the easiest thing to do for this would be the tube Tool and then another sphere for the Paris feet. And if we want, we can actually turn him and sort of sort of put him in that general position using a, using the arm. And let's add. Actually they don't have to do that. So let's just use tube. So we just go to tube here and we don't need snap. And I think we'll use, let's use curves. Curve is much better now because it doesn't rely on, like it uses less nodes. Before, before one point, ETU was, it was tough to use. The legs sort of originates around here. It comes down, then it curves back. So let's just do that shape. So we're just going to follow the, we're just going to follow the reference. So something like that, that looks pretty good. Actually. I'm gonna get rid of one of these nodes. Maybe even get rid of two of them. Okay, that looks alright. You can use the gizmo to twist it if you want. You can adjust the general position. Like if he's gonna be this way. You can sort of you can adjust the leg. I'm gonna leave it outside the body just so you can see everything that I'm doing. I'm going to tap gizmo again, that's going to bring up the tube options. So let's go ahead and make this a little bit thicker. So probably the same thickness as the Arms. Think something like that. I think that works. The knee might be a little bit bigger, but ultimately, I think it looks pretty good. So I'm just going to just sort of adjusted a little bit. This is the front. Turn it a little bit. Let's move it into his body. So let's use the gizmo. Tap the gizmo up there. And I want to move this into the body because that's the only way that I'm gonna get a proper placement for it. Another little trick that we can do is we can actually angle it. So here's the front. So he's kinda facing this way. So I want to angle this and let's just save this view. So we go up to this little camera view and just hit one. So we'll just save it as one. That way we have this view so we can kinda go back and reference it if we need. And this will kinda show us a lot of what we need to do. So let's take the arm and let's move it into the body. And it can rotate it. And we can just put it in a general position like this. Now obviously the body, we're going to have to bend the body, but I don't wanna do that yet because we can use this body for the other three. We can actually use a lot of these shapes for the other three, they're all pretty similar. So I probably will copy this or duplicated before we mess with the body too much. Okay. I think it's looking pretty good. So I'm going to go back to my view. And I'm just going to adjust the leg a little bit. It's going to spin it. It looks like the shoulder would be here and the leg is like right there. So this is perfect. The shoulders here, the leg comes down. And I think that's looking pretty good. So let's add another sphere that we can use for the foot. And we can also label some of these two. So let's take this name. This will be leg sname this leg B. Let's take this sphere and name it head, arm, your body. We want to make sure that we continue to label things. So let's add another sphere. And we'll use the gizmo to just kinda move it into place, shrink it a bit Okay, So that looks pretty good. So I'm going to stretch it a bit smaller. Alright, so I'm going to validate this sphere and we can use move to just kinda manipulate it to get this shape. So I'm going to turn symmetry on. I'm seeming to undo, undo the move, go back to the sphere, validated, and then turn symmetry on. You want to make sure you have symmetry on. Because right now we just want to bend it. Okay, so something like that I think is pretty good. Because we can always adjust and make this little front part. We can always bend it a little bit more or we can do this. This might be a little bit easier option. We'll take this, Let's rename it foot. And then we can clone it. Take your Gizmo, and you can actually just bend it, bring it down, make it a little bit smaller. There we go. So that's kind of like the Ben that we're looking for, something like that. You can kinda twist it a little bit, just make it as you would need. So I think that's pretty good. So now we can just go ahead and just trim this back part off. So we just use the shape to make another shape. Makes sure you're on the one that you want to trim. Guess I'm using this square and we just trim that. So and we'll be able to smooth that out as we go forward. Okay. I think the bottom of the foot might be a little bit more flat. So I'm just going to push, I'm going to push on this a little bit and just make this a little bit more flat. You can even adjust this one too as you need. But I think that looks pretty, pretty good. Can also kinda smooth them together a little bit, even though they're not connected yet. Let me turn off symmetry and just kinda smooth this out a little bit, just so it's a little bit closer. So that'll just help us when we do voxel remeshing. It'll just make it easier to smooth the two together. Okay, cool. Okay, so let's take our leg here. So this is like B. Let's clone it. And let's call this one leg a. Leg a. We'll take our gizmo and we'll just move it over and see how this leg is up. So we'll just rotate it with this red ring. We'll just rotate that up. If we go to our view, we can have a better look at what this looks like on that side. And obviously we have to adjust. There's a few things that we need to adjust, but we're we're in the right ballpark. It just seems like the legs might be a little bit too big, so we just have to adjust some things like that. These 2 ft, I'm going to take both of them. Let's Nestle one under the other. So just long press and bring it up. And it will, they will Nestle. So then we can just select both of them, clone them. And we can bring it over here. So let me can move it, rotate it. Again, this is very loose. Let's go to our view. So we can kinda see what we see rotated a little bit more. You can see the whole bottom of his foot. So these are the things that we're looking at rotated this way. We can see the whole bottom of his foot. So we might not even need this little piece. So if I hide that and we'll take a look and see what it looks like. It's still up and we can see the bottom of it. So it'll probably be something like this. And then we'll just we'll adjust this leg as we go on. We have to make it smaller and things like that. So we can do that in time, but we just want to generally put these things where they're gonna go and then we can clean them up later. So let's also take this arm. So we'll name this one arm B. And then we can do the same thing. We can clone it and make this arm a. Then you can just bring it over. Let's go to our view because it looks like his arms are doing the same thing. So let's make them there for now. Let's go to work view again. Okay, So this one is a bit. So we'll probably have to adjust both of these Arms to make them to put them in the right spot. But that's okay. I'm gonna adjust this a little bit more. I'll just this one as well. Okay, something like that. So in the next video, we're just going to make some adjustments and fine tuning our character as well as duplicate the body because we can use those later on. So that's what we'll be coming up in the next video. 5. Fine Tuning & Adjustments: So let's go ahead and copy this body part. That way we don't have to do it again. It'll save us a little bit of time later. So this will be body a. So I'm going to clone this. I'm just going to move it down here. And we'll make this body be that way if we need it, we can just come back and it's their body. A. Let's go back to our view, our little side view, they're running view. So first things I can see that the body, his back is arched. I want to take move. But obviously, remember we have all these symmetries and we can't use all these symmetries right now. I think we just want the red symmetry. So let's go to Symmetry and turn off the Z. So now we only have the red. So when we push, it's only going to push. It's gonna be equal on the back, left and right. Otherwise, when we push is going to like push on the other side as well, we just want the left and right side to push equally like that. So let's make the move tool a little bit bigger. Just gives for a nicer, a wide area. We'll make this smooth. We'll make the move just a little bit more gradual. Which is a little bit different than drag. Drag is like a little bit more tight. For this little section. Move tends to be more smooth because there's a wider area that it's moving. So we just want to, lets go back to the view. We want to line up the back with the leg area. So I'm going to move this all in a bit and just try to give him a little bit of like an arch in his back. I'm probably just make the body a little bit smaller while I'm doing it as well because it's a little big. Okay. I think that looks pretty good. I don't think he needs more of an arch than that. I think that looks pretty good. Make this a little bit smaller up here because they don't have big bellies or anything. They're pretty they're pretty small in the mid section. Okay. So the legs are obviously a bit too big. So with this leg, I'm going to use the gizmo and just make it much smaller. Bring it down. So there's like, there's like a cut which we can do using split. Later on. We can split this. So here's the separation with the blue from the white. So we just want to match the leg size. I think something like that. It's a pretty small little leg. And now when I turn this way, I kinda have to just go with go with the body and go with the instincts. It looks, it looks right here. But if we turn it this way, like it's a little bit, It's not really matching up with the body. So you need to just rotate it and line it up with the body and just make it look as natural as possible. In a little bit more. I don't think there's that I don't think there's that much like hip or anything. I think it's right into the body pretty much. So that's what I want to do. So that looks okay. And now we'll just use the, take the foot and follow suit. So we'll take the feet. And there are a little bit big. So maybe I might make it a little bit smaller and move it over. And then just use all of these other cues like the leg and things like that to just make it look good and believable. Okay, I'm going to move it up a little bit because you can see that there's a little bit coming up after his leg and the leg is actually quite short. So I'm gonna go I'm going to tap on the leg and then tap on tube, brings back the tube options so you can kind of shorten up the leg because the leg really isn't that long. There's not that much space. It actually, I might bring it up a little bit. It's really bent. So maybe even something like that. The good thing about the groups, I can tap, since this is nestled here, I can just tap on this one. You see here, this group. If you ever needed to move something like if you tap on this and you're like, why is the other one moving as well? It's because of this group. If you needed to move just one, you can have vertex and it'll just move the one that you are on. But we'll just do group because we want to move both parts of the foot. Okay. So this is looking pretty great. I think I'm pretty happy with the location. I don't mind that it's like uptight close to his body. That's how the references. So I think that looks pretty good. The other thing is just a little blue section here. Do Smurfs have tails? Actually don't know Oh, they do have a little tails. I don't think I if anyone ever asked me that, I don't think I would have ever guessed that they actually have tails. Alright, so I'm going to take move. I can see that this is real thick here. So I'm just going to the other one there as well. It's the best. I think I'll just edit both of them. So this one, I'm just going to move, make it a little bit smaller and I'll take this and just move that as well. Make it all a little bit smaller. Maybe make it a little thinner. You can also take smooth and just kinda smooth away. Choosy. A nice way to kinda reduce mass. But keep it fairly clean until we, until we remeshing it together. Okay. So let's go back to our view. And I'm always going to, there's always so much details that I so many details that I'm trying to do it once. One little thing that I'm noticing is I kinda wanna kinda want to turn the leg back a little bit more because his knee is almost pointing straight down and minus a little forward. And this is very nitpicky. But one thing we can do is take this leg, leg B. I'm going to bring it up over the foot. And then I'm going to nestle the foot with leg B. So now I can just take leg be. Remember what we were saying before. I can use the gizmo and group and it will move everything. I hope it moves everything back. So that's pretty much all I wanted to do. Okay. So now we have this leg. And I mean, part of me wants to just duplicate this again, but It's not that difficult to just adjust this and make it smaller and kinda match it up with the other ones. So I think that's what I'll do. Want to bring it into the body. Then just kinda take a look at the reference. I need to make it smaller again. So you just tap on tube and then you can adjust the tube sections. So maybe something like this is not that much coming off there. Maybe we'll take the whole thing and smooth forward a bit. And always go back to your view and just check it out with your view so you can kinda see what it's looking like. We'll take this foot and then sort of adjusted his little cream puff feet. They have such funny feet. Okay, it's not so bad. Let's take a look at the view again. See what we're missing. It actually looks pretty accurate. Maybe just a little bit forward and this foot is facing up a little bit more. I want to put a bit of a bend in it too. So I'm going to use Move tool. Notice I have the symmetry still on this. So I'm gonna make the move tool little bit bigger, maybe around 300. So when I pushed down, you can actually pull here or you can push down from the top or both. We do both. Make it a little bit smaller. Just try to get some of that roundness and the bottom little details like that that I tried to really stick to. And I think they I think they little details like that make a big difference. I think that looks pretty good. The only thing that I'm struggling with now if I go to my view, the leg is fine. But there is a little bit of a difference in the space. I think I need to bring my foot up a bit more. I think that's the best way to handle that situation. Then we can take this leg, we can go back to tube and then we can just adjust this leg to go into the foot. I think that works. Then we can adjust this to go into the the body. I think that works. I cannot believe they have little tails. Let's go ahead and add. I'd say we'd label all this stuff. We want to make sure we have everything labeled. Arm a RMB. Oh yeah. Everything is labeled nicely. So this is the other foot. Let's take leg a and move it up. And that's Nestle the feet. Okay, I don't need this little piece, so I'm going to delete it. And I'm going to call this foot a because this goes with leg a. So those are nestled. Now let's go ahead and save. All right. Let's add a little. Actually, we can just copy this. So we'll take the head, clone it. We can go ahead and validate it. And let's just tap on the three dots and let's just name a tail. So we'll use our gizmo and then just bring it back to his tail end. It looks like it's just this little sphere. It looks like it's quiet low. So maybe something like that. Let's go to our view. Can't really see it there. But it looks like that looks like the right spot. I have to slide it over just a bit so we can see it. I think that works. Still looks like it's in the middle. And we can still see it in our view. So that'd be a good little breaking up of the white with a little blue tail there. Let's position his little head. And then we can make the hat and things like that. So let's bring the head Down a little bit. And it looks like it might be a little big. The body actually looks. The body's Tool looks a little big to me. So I think I need to make I just want to shrink it a little bit. So we'll just use the gizmo and the orange ring and just kinda shrink it a little bit. That feels a little bit better. I think that feels a little bit better. So I might have to since I did that, I might have to bring this leg in a bit more because I don't want that much space here. I'm always looking at this negative space to, to make sure it vaguely matches up. Because this negative space is very important. See how far down the arm is. His wrist is like all the way up here. So that's why I'm we're going to have to make the Arms smaller. This is still looking pretty good, but I think I can bring this leg up a bit and maybe even the tail up a little bit. Just a smudge. Okay, so let's get these arms a little bit better as well. So we're going to just shrink them and put them into the body a little bit better. So that it looks a little bit, definitely little bit better. So now we can make the head a little bit smaller and just bring it down. You can see there's no point. It's kind of his head is round it on the top of the neck. So I think that would be good. And we look in the front view, we can see our arms are looking crazy. So I'm gonna bring them in closer to the body. Maybe even make them a little bit smaller. They should be about the same width as the legs. So there's still a little thick or a little smaller than the legs maybe. Okay. Bring us anymore. Okay, That feels a bit better. Let's go to our view. It's important to go to the view. So we have a good foundation for where we're putting everything in, how we're doing everything. Okay, so let's make this little Plate. Because we can use the Plate as an anchor also for the arms. Because they can be a little bit tricky to get the arms right in the length, right? But if we put, if we put the plate using our view that we pretty much like if we put the plate, then we can anchor the arms and we can adjust things. Because obviously the main draw is gonna be not only the Smurf but his little Plate. So in the next video, we'll use the lathe Tool to create the Plate. So then we can continue with the arms and filling up the plate and continue blocking the rest of our character 6. Lathe Tool Plate & More Blocking: Okay, so let's make this Plate. So let's use the lathe Tool. Let's find it. So here's the lathe Tool. We can just use path. You'll see this orange line or this line will come up in the middle. What we wanna do is I'll just show you. So we're going to start at the line. We're going to come out like this. Actually might be easier to use curves. Let's use curves, the curve, the new and improved curve. So I'm going to start from the line and then come out. And then we're going to come up like this and then make like the lip of the plate. What's important is you come down and over like that. Now, I didn't do it a very good job, but we can fix the nodes. And as you see, it's still pretty much looks like a Plate. So that'll be your platelets. Go ahead and label it now. Plate. And so if we want to make this a little bit rounder, you can just adjust your plate. Looks like his Plate is kinda round. Can't really see the whole thing. But that's okay. Let's make it a little deeper. Maybe let's make this a little bit. We go. That looks pretty good. Two, not too crazy, just just a Plate. If I look at it on the right side. Well, it's not it's not straight, but that's okay. I think that will work as a Plate. I think I'm happy with that. So before I validate, I just want to move it generally to the right area and actually might be a good idea. Let's see if we can use the gizmo to do move origin. If I hit right, no, it's the Plate is still not straight. I want to straighten it out. Let's bring back the grid. And as long as we're on the plate, we can use the gizmo. Where's the gizmo? Let's do pivot, center, pivot. And I'm just going to rotate it until it's pretty much straight. That's like a teeter totter or something. It's not the easiest thing to do. Unfortunately, like it should be. But maybe from further away, maybe that'll make it easier. Okay, so that's straight enough. I think that works. So now I'm going to move it up and move it to the general position. Big Plate. So we'll shrink it. Something like this. Move it out a little bit more. Let's see how far away it is from the body. So let's go to our view. And then we'll just there. It's tilted a bit. But I think that's okay. I think we just want the general area for now, right in the middle, in-between both hands, we go back to our view. We'll see how much space it is from the rim to his face. If I'm looking at the view, it's actually quite a bit off. Just as a few things that are off. First, we need to make the cut in the body. So that will tell us where things are. But right now if the cut is here, the Arms are very high. So there's that too. So I think I need to I think I need to take the arms and bring them down lower. So you might have different issues because when you do this, it's gonna be very different than mine. Obviously. I'm trying to show you everything that I do. But I think most more important is just the reasons why I'm doing everything right now. I'm going to maybe I'll use move and I'm just going to try to make the body a bit smaller. So maybe something like that. When I look at my view. Okay, that's still not too bad. I'm going to move the head down. Okay. There might be a bit better. The head is right at the shoulder and that's a little bit better of a position. And the plate is tilted, but I don't know if I want to tilt it now. I think I want to build this on top of the plate and then till everything. But what I basically did is another see this, this negative space in-between the Plate and the mouth. So that's why I wanted to bring the head down and make the body smaller because the head would be closer to the plate. Okay, so let's make some big moves because I feel like sometimes it's easy to sort of like nitpick and go really slow. I'm gonna make this smaller. But yeah, I need to start moving things along a little bit. Okay, so let's get to the head. Now. What shape is this head? It's just like an oval or it's kinda just like a circle, it looks like. But to me it looks more like. Let's, let's take the symmetry and let's turn on or we didn't invalidate. Let's validate. So I'm going to turn on the Z as well. Then I'm use move. So now we have the red and the blue. I feel like the shape is more straighter on the bottom. Want to make sure I have symmetry on and we're using move. And I just want to make the bottom a little bit straighter. Not that much, maybe something like that. And then I want to make the top a little bit straighter as well. I feel like the head would be that sort of shape. And maybe I'll bring bring the back end a little bit more. Okay, so something like that. I want to turn off the blue now. Now we're just dealing with the red. And also I want to make the body's smaller up here. So if I'm looking at the front and this is the body, I'm going to use move and I'm going to lets solo it. And I'm just gonna make it thinner up top. You're going to just make the whole thing thinner. Me move ahead a little bit. Now. Little bit higher. Okay. Has it look It looks pretty good. Okay. So for the head, There's this nose, which lets just add a sphere. We're going to just block this out little by little. So let's add, Here's the head. Everything is labeled. Lets add a sphere and let's just label it knows. So now what use are gizmo and we'll bring it up. I'm just put it in the general the general area. We'll make it smaller. So maybe something like that. So also for the head, I feel like the head would be flat. See the eyes look like they're kinda wanna flatter plane. So I'm gonna go to the head, go-to flatten. I wanted to flatten. Can probably do move first and then flattened. I just want to flatten the front part of the head a bit. Maybe something like this. Might not even have to really flatten it. I think it looks pretty good like that. So that's essentially what I wanted to do. I just wanted to flatten flatten ahead a little bit in the front and then we'll take the nose. And then again, just generally put it where it should go, maybe something like this. So it needs to be some room for the Mouth. I think that looks pretty good. Now the nose does look like it's kind of straight going up. But I think we can do all of that with move. So let's take the nose and validate it. I think we can use move lets save. Remember to save every now and again, I don't have autosave on. I'm going to turn symmetry on because we just want everything to do to be the same on both sides. So let's just kinda Sculpt this nose so it's kinda straighter on top. So I'm going to pull this back. We can make it a little bit smaller. I'm going to pull this back. And then this part, I'm just going to lift up. This bottom part is nice and round. So I'm going to push this down again. Just so we get that nice round nose and push it down even more. I'm not trying to match. Obviously his face is turned a little bit, so I'm just assuming what the profile is going to look like. And I think it would look something like this. It's very bulbous. We wanna make sure that this part is nice and round. But then it comes up. Okay, so something like this. I think it seems pretty good. I think that works. The size we can deal with later. The eyes look pretty simple, but let's make the ears. So for the ears, you can see there's actually look like, they look more like spheres. But I think I'm just going to use cylinders and then we can smooth the cylinders out. So let's go. We have the nose, let's add cylinder. Then we'll use the gizmo and we'll bring it up. And we can just bring it to this side that we're looking at because we can't see the other one. We'll Mirror this eventually and it will just be the same on both sides. So we'll shrink it will just make it a general ear size. And I'm going to use snap and 90. That way, I can just take a look at it. Exactly 90 degrees. Before we kinda mess with too much. I'm going to bring it out and maybe make it a little bit thicker. Like so. Maybe even a little bit more thicker, little bit more thick. So I think that looks pretty good. And I'm going to stretch it and I'm just going to sort of It's pretty big. They have pretty big ears. So I think this is the general area that the ear is going to be. And then the Mouth would be here, maybe a little bit more forward, something like that. So I think that looks pretty good. Actually. I'm not going to mirror it yet. And we're gonna, we're gonna do the details for this ear and then we'll Mirror. And it will just go on the other side. So let's validate this, but we want it to be rounded. So we're also going to do a round edge, the one that we made. So we'll do round edge, we'll start in the middle and we'll just round it out by pulling down a bunch of times. And that's perfect. I might even make it a little bit thicker. Maybe something like that. Now you can see these little pieces of the ear. And let's use move first because we want to just kinda stretch it. I don't think we need symmetry here because we're just going to, we're not going to do anything symmetrical anymore. So we're just going to move it. So it's like bigger on this side and smaller on the bottom. Just like it looks in the picture. So we're just going to stretch this side out. Let's make it a little bit bigger just for the movements are smoother. So we'll make it bigger on this side. And then just kinda bring this, this part, this part together. Round on this side and then smaller on this side. Okay, pretty simple. It looks good. So now we have to make these, these lines in there. So the way we'll do that is let's use layer. We can use the layer Tool sub. And that will create something like this. You can control the depth with this part, the intensity. So if you want to bring that down a little bit, and essentially we're just going to make a kind of a hole in there. But we're going to make it sort of on the bottom side of this cylinder. So I'm just going to start here. It's a little big still, so we'll make turn the radius down. And actually something that'll make it a little bit easier. Let's save. And let's refresh this. So let's do a voxel remeshing. Voxel Remeshing here right now it's at 01:09. You can bring it up to 150. Should be fine. Just so you know, I'm going to use this shortcut on the bottom. You can put that shortcut. Where is it that you can put this shortcut down here? It's the same exact thing that I just did, but you might see me swipe up and then just set my resolution and then do re-emission. It's the same thing. But I will I'll probably be using this as we go forward. Okay, so we Remeshing that you can do round edge again to kinda smooth it out. Okay, smooth all that out. And now I'm going to take layer and we're just going to carve out, see the difference. It's a very big difference. And we want to carve out a shape pretty much like that. Maybe even less, maybe even just more towards the bottom. So something like that. Here's another way to do it. If that's at that is difficult. You can use the mask. And then you can make a little bit smaller. You can use the mask, you can make your shape here. Then you can take unmask if you want to just clean it up and make it exactly how you want it. I think something like that is good. Then you just go to the mass settings, invert gizmo and then you can bring that, you can bring that in like this. So that's just another easy way to do that. So you can use layer, which is more of like a wild, wild west style. Or you can just use the mask that we can clean it up and you can do it like this. So let's get rid of this mask. So we'll go to the mass settings and to clear. It looks good. You can do rounded edge. But actually, excuse me. You can just do regular smooth two. Was I just using smooth? I might have just been using smooth. You can do regular smooth and just smooth it out and just make it look a bit more organic. Like so. Then for this little, that little nub in there, you can add a sphere and stretch it. Or we might be able to get away with doing inflate. Actually have a better idea. Let's take the gizmo and So now let's just turn this. Let's take it off snap. So now we can position it. So it's sort of like coming out of his head. And now we just need to go to where our scene. We just need to kinda keep an eye on where this is in accordance to the bottom of his head. So the bottom of his head is round, it goes right into the ER. So that means that this year is pretty low. So I'm going to tilt it and then I'm going to tilt it with the red ring because we're seeing a good amount of it from the front. So I'm going to tilt it like that. It looks pretty good. It's about the same size as the nose, which means that mine is a little bit too big, so I'm just gonna make it a little bit smaller. Doesn't have to be exact. It just has to be exact enough for someone's like, why is the ears so much bigger than the nose? When on the reference clearly thereabout the same size. So you always have to be paying attention to that sort of thing. Okay, so let's see how much of it is showing. I think that looks pretty good. It looks good. So now we can go ahead and we'll go to the scene. So this will be the ear. We can just call them gears. And then we can go to add and then Mirror. And now we have one on the other side as well. Okay, So that looks pretty good. I'm going to use I'm going to valid or actually no, I'm just going to tap on this ear and then tap move. And I'm just gonna move this a little bit more into the face. Still looking good. It's still a little high. So I'm gonna bring it lower, a little bit lower. I think that looks pretty good. And then I'm going to use inflate. And I'm gonna do this on the head. I have symmetry on, so it's gonna do it on the same, on the other side as well. And I'm going to use inflate. I'm just going to inflate that little round piece. So I do inflate like that. It looks quite big. But the thing is if you smooth it, you lose a lot. So let's, before we do that, let's go ahead and voxel remeshing the head. I'd like 150, I'm going to save first. I tried to save before I do voxel remeshing because it's always prone to crashing. Then we'll do a voxel remeshing around 150 on the head. So that should allow us to be able to inflate with a little more accuracy. So it should be a little cleaner. Let's maybe something like that. Can actually do it on an angle. Then you can smooth it down and it will probably just make exactly what we want. So it just makes that little, that little nub. So that's pretty good. That was pretty good ears. We'll continue working on this. And the next video. 7. Even More Blocking: Let's make the hat on top. So it looks like it's sort of like a Santa hat. But this might be a bit of a I think I wanted to use a trying to figure out the best shape of this hat. Okay, So it's sort of looks like it's, it might be kinda squarish, but we can do that after. I think we'll use a sphere and we'll make the initial shape of the top part of the hat. We might use something else for the brim, so to speak. But let's start with a sphere. I think that'll be the easiest way to do it. So we'll add a sphere. We use our gizmo and bring it up. Alright, so we have our default symmetry. So let's go ahead and validate this and let's use move. And maybe we'll actually do the Z symmetry as well. Now we just have to make another teardrop type shape. So we're just going to stretch this up. Make sure you have symmetry on. So we'll stretch that up and then we'll make the bottom a little bit bigger like this. We have to do it on both sides. Like this. Keep going back-and-forth. Think something like this is what we need. There we go. So we have like a soft, soft kinda looking cone. I think that's what we need. Okay, so now with this, Let's turn off the Z. So we go to Symmetry and turn the Z axis off. That way we can just push it to sort of get this floppy shape. So I'm gonna hit right and symmetry zone and we're just going to push, pull, push and pull. Something like that. I think that's, that's pretty good. So now let's add, this is gonna be HAT. So let's just name this hat. Let's add another sphere because we can do the same thing that we did with the foot. Now, we'll just add another sphere like this will make it this kind of shape here. Stretch it out a bit. We'll use this blue little sphere on the, on the gizmo, stretch it out. So we'll kinda put this in place. Let me make it a little bit bigger. Something like that looks pretty good. So now let's just match the shape. Again. We're just going to pretend that we're looking at this as a profile. Even know right now it's like a three-quarter pose, but we're just gonna pretend it's a profile. So I'm just going to move this hat, make it a little more rounded here, push this side down. And then just use this and make it work a little bit with this part of the hat. I'm going to validate this little 12. Then I'm going to use move and just make it a little more round on the front. This is a little sharp. If I can explain that right. Like they're really tiny details. But I just want to make this a little bit route more round up. But I made a mistake. I wasn't using symmetry. So I'm going to make sure I press, go back and use symmetry. So that's exactly what I mean. Now it's just a bit more round, really tiny details, but I am very, very detail-oriented. Think that looks pretty good. The only difference is this is a little bit more. Here we go. Little bit more like that. I'll use move and then just kinda make it seem a little bit seamless. Split this up to okay, I think that looks like a pretty good, pretty good hat. The width. I might want to just adjust the width a little bit. Maybe just adjust that up top. But ultimately I think that looks pretty good. That looks pretty solid. So the only other thing that I'm wondering is this brim, That's the only thing that's a bit funny to me. I think we can use a tourists had top. You have the sphere. Let's do Top tip. You can name it whatever we had Top Hat, top tip is just so we know we know what it is. We can add a tourist. I think a tourists might work. We'll bring it up to the spot. Now I want to make it thicker. So let's tap the gizmo. Excuse me. We can bring up our other options here. So now actually when you tap gizmo, that options already show up. So I think it's the green one here. The green one makes it thicker. Think that's what we want and I want to use the gizmo now to just stretch it like this. Stretch it a little bit more. Make the whole thing smaller. Maybe. Sometimes I have to go back and forth because I want it to be I want it to be thin. Let's see. There we go, make it bigger and then stretch it a little bit more. So I'm thinking something like this. Let's see if I bring it to this hat, maybe a little bit bigger, then bring it straight up. That feels right to me. That feel right to you. I feel like feel like that kind of works. So let's Nestle. So let's take the hat top tip. The hat top will nestle it there. And then we have the tourists. Let's rename e1 hat brim. So that's the brim. So now we can nestle this as well. So now we can bring this to his head. Bring it down. We need to make it smaller. So it goes down behind the ears. So I'm gonna bring it down to behind the ears. I'll just hit right. And now we can just position it. We can try to just position it where it seems like it would go. Maybe back a little bit more. Whoops. I don't want to turn it. I want to just move it up and down and left and right. Okay, So the first problem that I'm seeing is okay, So if his poses like this, the hat has to be further back. Hand has to be sort of like this even. But the only thing about that, that actually looks okay. Hey, that's actually not bad. But there needs to be more room for his eyes. And also so there needs to be more room for the eyes. And the other tricky part is if it's like this, but in the cartoon is hat is way up there. So now the head is, this looks like the perfect place for the eyes. But the head is round and it would have to curve a bit more. I think this part of the hat needs to be bigger. These two. Okay, so it's going to move the hat and the brim hat and the tip. So I'm going to take the brim off just so they're not connected anymore. So now we need to, we have a good place for the hat. But let's make this part a little bit bigger. Move it up a little bit more. I'm going to take this little brim piece, just the little brand P. I'm going to disconnect them all. So just a little brim piece. I want to put this where I want it to be. So let's, I'm gonna look at my view and kinda just want to put it where I think it should be. The view is actually more like this. Hello, I'm looking at the view is actually more around here. So what I'm going to do is I'm going to update this. So I went to the camera and you hit this little update, button, it up late, updates your view. Because I think this is a little more accurate. So this part actually goes over his nose. So that's pretty important. The nose would actually be the nose is right over the middle part of the body. But he's also kinda lean back a little bit. So that's where some of this, some of this stuff can get a little Tricky. So let's take the head, Let's Nestle some of these things to make it a little easier for us. So we have the nose, the head, Let's Nestle the head, the nose, and the Mirror of the ears will Nestle all those together. Let's go back to the view. I'm going to push it, push it back a little bit. Okay, so now the nose is still a little bit high. We can probably just move the whole thing back. You probably don't have to do all of this. But again, I'm like a little bit a little bit crazy with it. I just want to move it back a little bit more. I'm going to take this back part and just kind of angle it a little bit better view. Okay. So now at least the nose is a little bit closer over the center of his body, still out a little bit, a little further. But I think that's I think that's okay. It's now I'm going to take these pieces and put them where they should be going. So I'm going to move it up and back. This whole part. I'm just going to move up for now. I'm gonna put, oops, I'm going to position it in the head a little bit better. Something like that, but we can actually tilted forward a little bit. So that will actually help us. So let's look at our view again. It's pretty good. It's, it's, it's a little bit better. Okay, so I'm going to take this and now I'm just going to use move. Kinda make it very curvy. I'm going to take this and make it smaller. It looks a little bit, a little big. I'll just use move again and I'm just going to marry, marry these two together again. But, but the main thing is I just want, I just want a nice, a nice curve here. That's all I really want is a nice, a nice curve here. Let's take a look our view. Okay, that's pretty good. Not too bad. So we have this, we have this. What I think we can do is take the hat tip and the head. And I'm just going to make it a little bit smaller and I'm going to tilt it forward. I think that's gonna help. Let's take a look at our view again. I think that's pretty good. It's a little far back, but I think I think we can sort of figure that out at another time. So now let's just, I'm gonna take this part and just make sure that I marry it back up to the head. You can even take the tourists. I'm pretty happy with it, so I'm going to validate it. And I'm also just going to move it. I'm going to turn symmetry on and we can kinda move it around and just make it. So it's a little bit better. Kinda formed fitted a little bit to his head. Okay. I think that's good. I'm going to move this up further. Let's take a look at the view. And actually there's a, there's a lot of space here. So I'm kinda struggling with that too. This is like this is the important stuff that really make or break your projects. Like I know I'm spending a lot of time on it, but this kind of stuff is important. And it's important to figure out why certain things look the way they do. So that's why I tried to keep all this stuff in and I tried to take the time to really show you why I'm doing and making certain decisions. So one thing that, Okay, so this is here and this is actually close to the jelly thing. So this is a good spot for this. But you can see that you have to really match it up with the head and everything else. So let's see if the little jelly thing is about there. It kinda Touches his nose a little bit, but we can actually bring the nose up a little bit. We can tilt it back. So we can so I think that works. We bring the nose up a little bit, we tilt it back. Now we can give a little bit more space up here. Maybe put it forward and move it back a little bit. I think something like that is okay. So now we just need to do the same thing that we've been doing. And just sort of Mary this to the front part of the hat. We can take this and also just bend it. Since it's all the same thing, we're going to remeshing it altogether. It looks like a symmetry issue here. I don't know when a seems like something is off, you know what happens? Something probably got turned at some point in time. And that happens. Unfortunately, it's really hard to keep the symmetry sometimes because things just like get messed up when you're in the thick of it. Okay? It looks like a good curve. That looks like a good curve will bring it down a little bit here. And I want to bring this tourists out. I don't mind actually making this a little bit more square. And then spreading the head up the hat out a little bit. So it's a shame that the symmetry got kinda messed up. But that's okay. Alright, so another thing that I might wanna do is stretch out the head, but I probably don't need to do that. Oh, that's okay. I actually like it. I like the head stretched out a little bit. Alright, I think that looks pretty good. So do we have enough room for the eyes? I think we do. But another cool thing is we can just adjust the hat as much as we need. And then we can take this inserted, just move it up a little bit. Okay. So I think there should be enough room for the eyes because they actually go down to towards the nose. So I think that should be good and we can add, we can actually make the skin and go over the head a little bit. Okay. So yeah, that was pretty tricky part. I didn't expect that to be so tricky, but it was just kinda tricky. And I'm just going to continue to adjust this. And like I always do, I'm gonna try not to it out. I'm just going to show you my my Adjustments. Because again, that's one of the more important things that I do and I spent a lot of time on and it's the Adjustments. Oh, it's this thing that moved. Somehow I moved it from the center point like that. Never fails. How this feels a little bit too. There we go. Very round with a very, very round. So you want it to be more round down here. I think that's good. Key the ears, Let's make sure let's see the ear positions. The ear positions are pretty good. They might go a little bit lower. Which in turn, I do have to move this little thing that we made, but I think we can just use the Move tool and it should move enough. Yeah, that's fine. Okay. Alright, good. Alright. That was rough. That was rough, but we are we we're we're rocking and rolling. So when we come back, we'll I think we'll do the eyes, the mouth, and then we'll do the hands, and then the rest of them. But it's tough. Take your time with it, take as much time as you need. Just try to get it as close as you can do this. And just keep in mind the negative space and things like that. 8. Blocking Eyes & Brows: Let's do some simple Eyes. Can use two cylinders or spheres. I think we can do the eyes very simply. Open them right in the middle. Hopefully the nose won't be too big, but we'll just have to make it work. Smurf is a Smurf. So let's I'm just going to tab here that way when the when I make the eyes there right in the middle, I don't know why I felt the need to explain that too. So let's add sphere. And we can name this. So we'll use our gizmo and put it in position. To be careful you don't move other meshes. So it will shrink it and we can just make one and then we can just mirror it. For now. We'll move it over. And I'm going to shrink it like this. And actually before we do that, Let's undo, Let's go ahead and so we have Eyes. Let's go ahead and clone net and name this one. Pupils are P1. P1 for Pupils. We can hide it for now and just go back to the eyes. Alright, so I'm going to, again, I'm going to just shrink it this way because you can see the eyes look very flat. They don't look like they bulge out too much. So I want to make sure that their eyes are very flat. We look at the front and we want to make it something like that should be pretty close. I'm here right again, I'm going to bring it to the skin and then I'm going to bend it just so it's right on the surface of the skin. And if you're, gizmo is not facing, is not aligned with the actual sphere. See how I move it in the gizmo moves along with it. You might have a line on, see if you do a line is just going to stay to the project. Left, right, up, down, back, front. So it makes sure you turn that off. And now it is the gizmo is based off of your shape, which is what you want. So you can move this right down to the surface like that. And I think that's pretty good. Might be a little small. Okay. So if we like that, Let's go ahead and hit Mirror and then see. Okay, so the eyes are touching. So that means we need to make it bigger and move them closer together. Okay. It's not bad if they feel they feel like they should be wider. I think I want them bigger and wider. I believe. Yeah, I liked that better. I'm going to move them a little bit further apart. And I might even tilt them towards each other. That might give them a little too much of a expression. I think I like that. I'm gonna, I'm gonna see if I can move them in closer to this In more in the head. And let's see how that looks a bit hard to gauge without anything else around it. But for now I think this is pretty good. Bend them out a little bit so that they're equal. Yeah. The top was looking a little little pointy, so I just wanted to okay. I kinda like that. I need to move them close together. They are touching. And it might we might have to bend them outwards to okay. I think that's pretty good. I think that might be good. We just have to gauge the size of the nose and the face and all that stuff. I think the nose might lets point the lets expand the nose a little bit. I think we might want to expand it a little tiny bit. Forward. Well, we can just move it forward and up. But I'm gonna go to pivot and I'm going to turn this that way. That way I constructed a stretch it out a little bit. Like that feels right to me. Also You can't really see it, but the face might actually come out a little bit more. I'm going to use move on the face, make sure I have symmetry on. Because since we can't see the profile, we don't actually know how far up this goes, but it goes up quite a bit. Which means that we can probably bring this up a little bit. I think that helps a lot. Bringing this bringing this bit up. Yeah, I think that I think that helps because we still had to figure out the mouth and stuff like that. So now that we've done that, let's adjust the eyes to the new position of the nose. And another thing that we can do before we even do that, Let's Move, make the move tool quite a bit bigger, so it's nice and smooth. We can also flatten this up a little bit, something like that. So let's now adjust these eyes. So we just have to bring them out a little bit more and just adjust them because we adjusted the surface of our face. So it's moving a little closer together. Maybe make them a little bigger. And I just like, I think I just want the eyes to be bigger. But that's where your personal touch comes in. And sometimes there's things that may not match, but I think they might look better. So that's just what I'll do. Okay. I think that looks, I think that looks pretty good. The nose. This is a little, this is very, very, you know, I am by now. I feel that the nose is a little too narrow here, like pointy, and I want it to be bulbous on both sides. So I'm going to spread it out on the top a little bit bigger. See what it mean? I'm just like making it a little bit more wide. Yeah. I think that's I think that's better. Because sometimes when you stretch out a sphere it just gets a little bit pointy. Kinda like how this is a little bit pointing to. And evenness. I might want to spread out the front a little bit so it's not so sharp. In a sense, for lack of a better term. Spread this out, try to make that straight, that transition. Okay. Good. I think that I think that works. I don't think I need to Eyes to be any bigger. I think they look okay. But maybe a little longer. Even. I don't know. I think they're, they're okay. But it's hard for me not to experiment. As you know. As you can see, I'm always experimenting. I like it. So now that we have that, let's go ahead and save, make sure we save our progress so they don't get a crash. It looks pretty good. Head shape looks good, the ears look good. Another thing that I wanted to do with the hat was used flatten. This is on the brim specifically. I wanted to flatten out part of the brim because it just feels flat to me there. So what I wanna do is flatten it out with a flattened Tool. Notice how I'm leaving a little bit. I'm not really flattening and out. Like I'm leaving a little bit here. So there's sort of like a lip because I want to flatten that out to essentially I just want this middle part to be flat. There we go. It's kinda minor, but I don't know. It's just something that just feels right to me. I'm gonna do it on the sides too. I'm just going to flatten them out. And on the back. Just flatten it out. And then I'm just going to use smooth and just kinda smooth at all. And actually you know what? The smooth is gonna be very accidentally went too far. I think it just smooth gently is okay, I don't think we need to voxel remeshing yet. I think we can just smooth it very gently, but the mesh is going to be very soft. So just don't smooth that hard or it will, it will work the shape. So I'm just very gently. Now we'll use move and just bring it out. It seems like it's a little close here. See how close that is? I don't really like that, so I'm going to bring it out a little bit more. Just kinda pull it out. And especially by the sides. Mean something else is like not perfect. I wonder if I need to align, see if they can straighten this out. Okay, Now it looks straight. What about this? We'll just move it over a little bit. That looks straight street ish K. So I'm gonna go back here and this is what I was just trying to do before I got sidetracked by this stupid symmetry. It's like symmetry loves to dislike not be symmetrical. Would be cool if there was an option on like a mesh. And you can just do lock symmetry so that you couldn't sculpt on it or move it. Like it wouldn't let you do it. Like if you know, there should just be locked symmetry. I think that'll be super useful. Okay, good. This is looking good. Now. There's little hairs like little eyebrows. So which means that there's little, there's like the skin kinda goes over it. So we might be able to use inflate, either that or we'll add cylinders over it. Let's try inflate on the face with symmetry intact. Let's just see how that looks. If we do a couple of rounds. Now that makes him look a little bit angry, even if we smooth it out, I think that makes them look angry. So I think the best move is to use cylinders. So we're going to add cylinder. Bring it up. She's snap for now and just snap it forward. You can turn snap off. We'll shrink it. And we're going to use this to make the kind of like the eye socket sort of thing. So now we'll bring it down. And forward. We'll move it over and then we'll just kinda shrink it. Maybe shrink it this way. Hopefully it's starting to make sense. Shrink it that way. We can go ahead and hit Mirror. So now we have both of them. So now the only thing we have to think about is how much of an angle do we want? So we can take it off of a line because we can move them forward and then we can tilt them back a little bit. Something like this. But if we do this, we just have to adjust the hat. But I think I might like that. Let's take a look a little further out. I wanted to be a little bit more round. I'm going to separate them a little bit more and maybe even stretch them out here. Okay. I kinda like that. So I you know what, I'm going to validate them because otherwise I'll just second-guessed myself forever. We're on this one. I'm gonna, I'm not going to use symmetry. I think I'm just going to adjust this, willy nilly. And we're just gonna make it work, so I'm gonna pull it up. It's okay. They both of them are going I just didn't wanna do both sides on one. Because that's what the symmetry, symmetry would do. This isn't a mirror right here. So anything I do to this one is going to happen to this one. I just don't want the two symmetrical sides to be affected. I want to just work this thing as a whole. So I'm going to open this up a little bit here. And I wish looks pretty good, to be honest. Maybe just open this up. Yeah. Whoops. I think that works pretty well. Actually, I think that's good. Yeah, I like that. I think that works. So now it's just the hat. And for the hat I think we'll just use move and we just need to kinda make a little room for these, these little things. So we'll just kinda puff this up a little bit. And I think that will I think that will work. I think that's all we need. Really. Just a little bit of puffing up. Okay, good. Here's another little detail. We can flatten the underside of the brim. One thing I really like is making planes and concentrating on planes. So by flattening this underside, just creating a nice plane, see how the light hits it differently and gives that nice dark shadow there. Even though this is a mat cap, you can still see when you move things a certain way, you just see enough light and reaction to it to know that you've made a difference. If you want to go to step further, you can do pinch. And you can bring it up a little bit more. Symmetry zone. You can pinch the brim. So you can pinch the brim and it kinda gives you a little bit more separation on that plane. Little bit more of a crease. Going to be careful sometimes it does things like that. Okay. But I think that's pretty good. Okay. So I think that's good. I think we'll come back and we'll do a little bit more. We'll do the Pupils and we'll do the Mouth in the next video. Make sure you save 9. Blocking Pupils & Mouth : Video number nine. So we're going to block the Pupils and the mouth, but I just don't like the eyes together. So even though this is traditionally how they are, I think I'm going to separate them. I think I just liked them. I just think it makes a cuter with the eyes a little bit more separate. I'm going to separate the Brows as well. Maybe even tilt them a little bit. I don't know. I just think it's cuter. So I'm just making that executive decision. And you can choose whether you wanna do that or not. It's completely up to you. That's the best part about this whole process. Alright, so the mouth. So this should be Fun. So how do we want to do the Mouth? I think I want to give teeth to, you know, I give my characters teeth. You know, I can't help it. I'm thinking for the Mouth, I might might be able to trim. Let's try it. You know what, let's just go for it. And I apologize for not having clear, concise things. But with my work, there's always an Art to everything. And I think it's very important. This stuff isn't mechanical. Sometimes you have to make choices and sometimes they have to be wrong. And then you say, okay, we're just going to try something else. So let's use the trim tool just in case you want to see some of my trim settings. These are my trim settings. Stroke. I'm not sure. I think all these are default. I'm not 100% sure, but I think that's all default. I'm going to sneeze. I'm going to try to hold it. So he's smiling. So we're going to have to make some cheeks and the mouth is open, but it's hard. The way that the drawing is, it doesn't really it doesn't really allow for the proper Mouth shape. This is one of those things where it's kinda weird when you're trying to like 2D. And 3D isn't like one-to-one conversion. So we kinda just have to make it make do on our own. So what I'm thinking is we'll use trim with lasso and let's see how this looks. So I'm gonna just make a little Mouth like this. Just trim that. And it's not going to trim because I'm never on the right mesh. Kinda used to that by now. So let's try and trim this again. Actually not bad, little, a little wide, but I think it actually could possibly work. I think it looks kinda cute. If I'm honest. I think that could possibly work. Okay, so let's use clay. And let's see if we want to make some cheeks here. There would be about around here. Smooth all of this out, including the mouth. And I think the Mouth is a little too big. Let's use drag and bring this. Because when he, if he's smiling, you really have to bring up the ends of the ends of that Mouth. It actually is kinda cute. So a lot of what I kind of go off of is literally just how cute it is. But I think the Mouth is a little too big in this situation, so I'm going to have to undo just a little too big. So there's a few other things that we can do. One we can take crease and we can start a sketch up a Mouth. We're using symmetry. And so I'm just going to draw a Mouth in there. Kinda like that. So that would actually be a really good Mouth. I think. I'm going to use, I'm going to use Mask. Make sure you not on unmask. And maybe we can just remove the part of the mouth that we want open. So maybe something like that. And we'll go here and we'll invert it. We use our gizmo and we can push back. Maybe like maybe shrink it or maybe expand it. Now usually expand. The only thing it makes that much difference. It's gonna be like pretty black back there anyway. So I think that's fine. Bring it back a little further if you want. I guess it doesn't matter. Okay. So we have that. I think that looks okay. I'm gonna go ahead and clear this mask. So I'm gonna go back to mask, back to mask options and just clear it. I think that works. I think that looks pretty cute. I don't think the Mouth needs to be smaller than that. I feel like that's a pretty good I think that's pretty good for the mouth. So I'm gonna box 3D mesh the head. So it'll hold this shape a little bit better. So I'm gonna save and I'm going to voxel remeshing ahead. 160 should be fine. So now we're going to go to smooth. I'm still going to smooth kinda gingerly because I don't wanna lose the shape too much. And we're not voxel, voxel remeshing that high. So okay, I think that's pretty good. It's not bad. The only thing that I'm sort of thinking about now is if I should have if I should have made the line. And then when I did the mask like not make it end-to-end, but should have started the mask inwards a little bit. Let's see if I can use drag and drag. Drag this up. This is obviously going to go back. It's a little bit, It's a little bit funny. I don't like the way that this Mouth looks like this. I think I'm gonna have to try something again. I'm going to go back to the mask. And I'm going to go back to mask and then I'm gonna do unmask. So let's try not bringing it all the way to the end. That makes sense. So maybe something like this. This way we have a little bit room to make that crease for this smile. So I'm not sure, Let's see how this will work. So let's invert it. Gizmo will move this back like we did. And then we're gonna go ahead and clear the mask and see what we have. Okay, That's not bad and good and voxel remeshing again, I'm gonna do a little bit higher this time. I'm going to do it at 200. Alright, so I do want to add some cheeks. So many use clay. And I want to add some cheeks here. He's smiling. I definitely want cheeks. Smooth them out. Nice. And smooth. Just small little cheeks. I like that. So now the other thing is see how the Mouth is a bit wrong because of the way that it's trimmed. It actually this part needs to come out a little bit. So I'm going to use, Let's use move. And let's try to drag this part out. I want to flatten it because I don't like that. It's a sharp edge. So let's just flatten that edge. I think that's a lot better. I still think that we can bring it out more. So I'm going to use move and just bring this out more. This is another important thing that I've learned when I'm making characters like this is really hard to do. Mouths and make Mouths look good and natural. Because there's just a lot of nuances to them. I really want here, there we go. See, that's what I'm kinda going for. I want this to be an angle like this. I don't want that to be because that's because I don't know. It's kinda hard to explain. But hopefully it makes sense that when you see it now, it looks more like a Mouth than it did before. See you go back. You don't want that. You don't want the Mouth part. You don't want this part over the bottom lip. That's not good. So that's why I like pull the chin out and push them Mouth back. And for any character that you do that has like any sort of Mouth like this, There's always going to look better. Another thing is this lip going down like that, like this should actually be coming up. So I'm going to take move and try to pull this part up and out. Which is a little difficult, but there's a few ways to do it. So we're going to try to pull this part out. It looks pretty good actually. You can pull it out a little bit more. Okay. It looks pretty good. So let's go ahead and try to smooth. It was when to keep smoothing, keep everything nice and smooth as much as you can. Apologize for the sniffles. I don't know what it is. The last two nights like before BED, get sniffles. It could be the fan on behind me. But I don't know. Anyway. Anytime you have things like this, sometimes it's nice to add to make it flat. So I'm going to start serve on the bottom, on the inside. And then I'm gonna kinda curve out a little bit. So watch me do it and then try it. So you see how I kinda curve out, but I don't make it flat all the way. See how I like how this is just a straight and like a crease. And this part flattens so I start underneath and I flattened like that. It'd be nice to do with the bottom. I don't really like this. I'm not really sure how to. Let's protect the top of the mouth. Lets you select Mask and lasso. Let's just protect the top of the mouth. Actually a symmetry zone so you can just do one side and it's fine. So I'm going to take drag. I'm just gonna move down. The only thing I don't like is see this little this little protrusion. I just don't like that, so I'm just going to push it down a little bit. It didn't really work. Let's try flattening and flattening works a little bit better. Just want to flatten that out a little bit. And you can actually do the same thing, can actually flattened. It's not bad. Alright, let's get rid of this mask and just make sure that everything is still hunky-dory. You got some little weird parts in there. So we can smooth inside the mouth as well. Symmetries on both sides to be being smooth. Smooth, a little crease in there. Just want to smooth all this out. Get rid of some of those little dimples in there. Even though you're not really going to see in there, it's just nice to keep everything nice and smooth. Like a smooth mesh. Okay, so now let's take a look at what we've done. I think it's cute. I think it looks great. I loved that. Okay. And we can sort of we can use drag and then enhance these, these cheeks. Let's use crease first. So we use crease to enhance first. So that's sort of resembles like the upper lip, like kinda going over the bottom one. I'm still going to smooth out a little bit, but I'm going to be very gentle. Okay, That looks great. And then drag and then drag up where you put the little dimple. Now we can drag this point up. And that makes them even happier. So you just want to do that in that little dimple. So that gives you those nice little take cheek dimples. I think that's great. Okay. You can pinch if you want. You can pinch. I don't I don't remember if we've already pinched this, but you can pinch it. Do the same thing down here if you want, if you want to pinch that plane a little bit better, you can do that. But if you want. And the bottom part of the mouth looks a little wide. So might just take flattened and just try to flatten this out a bit around the mouth. So I'm just kinda flattening around the mouth a little bit. Just I just wanted to get rid of a little bit of this Psych. There we go. That looks pretty, it looks better to me. Now I'm just going to smooth it. Smooth everything out. Keep everything nice and smooth. Smooth, smooth out those cheeks a bit. Okay, that looks good. You can also adjust the mouth a little bit if you want. Like if this is too wide, you can use move and you can make it a little more narrow. If you want a little bit more of a narrow mouth, you can do like that. Okay. Alright, so I think this looks good. Oh, we didn't do Pupils. Let's just do the Pupils real quick. Since I already labeled the video. So P1, lets bring back P1. Pupils are looking huge right now. So we use our gizmo will shrink it. And it looks good. So we'll do something like this. Now we just see you just need to flatten it up the same way we did with the eyes. So just flatten them out and then push them into the eye. It looks like he has more elongated Pupils, just like the eyes. So we're just going to elongate them a little bit. I think that looks good. Maybe he's looking mic more down. So something like this. Of course you can put the Pupils wherever you want, go ahead and mirror it. Then you have your two Pupils are, but they need to be closer together. So I'm actually going to move them closer together. Maybe even tilt them outwards a little bit. I think that's a lot better even though the nose is big, we might need to make thin the nose out. But I think that looks really cute. Let's take checkout our view. I think that looks great. I think that looks good. Okay, Cool. So next, I'm going to experiment with some teeth. We can add the Tongue. If we have time, we'll start with the Hands 10. Teeth & Tongue: Alright, I'm excited to see with this little guy would look like with teeth. But first, I just want to squeeze the nose together a little bit just so you can see the eyes a little bit better if there's like looking from a front view or whatever. I think it just looks better with the nose a little bit thinner. I think that works. Alright. And actually maybe I'll even bring it up a little bit at the base. Maybe it'll bring it in a little more here. Yeah. Maybe I'll even squeeze it together bit more at the base. Yeah. I don't know why I'm making those weird sounds. Okay. So I really like it. I wanted to give them some teeth. I know that I'm gonna I'm gonna get a lot of backlash for these teeth. But I love, I love putting teeth where they don't belong. I love putting teeth on characters that they don't belong. So we're just adding a sphere. I'm just gonna make them out of spheres using Mirror. So we just shrink. I'll move it up so you can see what I'm doing. So we'll just kinda shrink and then go something like this. That's it. And that's pretty much your tooth. You can kinda square root off a little bit with the flattened Tool if you want, but you don't have to do that right away. Can do that, whatever. Oh, and you can also do like, you can also use something like this. Let's say we want to use this for a tooth. I'm going to move it out of the head. So here's our sphere. Let's say we wanna do front teeth. You can do something like this. So we're going to validate this sphere that's right in the middle. And what we can do is go to the, can use our gizmo symmetry vertex. So we move to a vertex. And you can spread this out like this. Like so. Turn off symmetry can put this back to auto. It's fine. But we want the, we want to put this back in the center that Gizmo. So I'm just going to do pivot, center pivot. So now we'll just use move. We want to add a little bit of a bend in this if it's in the front. So I'm just going to stretch it. Let's solo it. And let's push it. It might get weird. Didn't get too weird, but I got a little weird. So I'm gonna quite insane. And then I'm going to voxel remeshing this little thingy. Maybe like 150 is fine. So we'll 3D mesh this little thing. So now when we push it, it should just push normally. So that's what we want. We just want that little curve in there. You can pull a little bit from the front two. So when we un-solo and it's there'll be more like teeth who does have to move it back in place. And also angle it a little bit better to pivot, pivot. So you're going to make it a little bit thicker, maybe a little less thick. And you can take move and maybe you want to adjust the shape of these. Again. Symmetry. You can do something like that. Okay, so that's the front teeth. Let's go ahead and add another sphere and call this T fees. So now we just have another spirit. You can do the same thing, but just add the little ones on the side. Same thing, shrink, then squash it together. This is my favorite kind of teeth like you don't really have to do anything too crazy with teeth. Go ahead and hit Mirror. And then it gives more again. You can make the two little separate teeth on both sides and then back a little bit. Something like that. I mean, I'm sorry. I don't know who doesn't think that that's a good idea to give them little teeth. I think that's great. I love it. There, little small. So it's unchecked that this year There we go. There little small so I might just make them a little bigger weight. Why is it moving? So weirdly, let's do pivot, center. Pivot. That didn't work. That's the center. This is not the center. Oh, no. Why? I know why. It's because of this. So I'm going to go ahead and validate this. Now when we do both of those and make them bigger, they should be even. Okay. Yeah, that's even. I like that and move it back a little bit. I like that size. Good. I'm keeping it. I don't care what they say. You have to be brave and doing this stuff. Because people will love to like tear down your ideas. But you just have to do them if you really want to do it, you have to do it. Unless someone can have a good compelling reason why it should be done a different way. Even then you can do it. You can do it whatever way that you want. But listen, because sometimes people might have a better idea. You have to stay open to people having a better idea. Alright, so now let's do the Tongue. I must time we have left, okay, really? It's only 6 min. It's not bad for the tongue. Lolling out of his mouth. Tube Tool. I guess to Tool. The tube will do curve, maybe snap. So I'm going to start in here and I'm just going to do something like that. We don't need snap anymore because now we already, it's already done. So now I'm just gonna move these nodes until it looks like it's just going to move the nodes until they're on the surface of the Mouth. What happens is even though I turn snap off here, it remains on up here. So that's why I was getting those. That's why it was messing up like that. So you need to turn snap off there. I always forget that these have wished would just be synonymous. Like everything else. You should turn one off. This should also go off, but maybe in an update. Okay, so let's bring this out a little bit. I don't think it needs to be that long, so I'm going to bring those two together to get rid of that node. Bring this out a little bit. Spline. So it's nice and curvy. I love saying that. Okay, that's pretty good. I think maybe this can be done a little bit lower. Okay, so hopefully this will work, we'll see. So we need to make it wide. Let's try with a profile. So let's try to flatten it with this so we can make it flat. So now I want to, oops, oh yeah, that actually that's good. If you tap on these little nodes. I feel like I did this whole thing way too fast. So I'm gonna do it again and slower. This is the profile. The profile is kinda like the cross-section of the tube. So like if you wanted to make the tube into a ribbon, you could use the profile. So when you tap the profile, it turns into a box like this, which represents the tube. The tube is now a box. When you tap these nodes, it makes one part Round C. So this is how you know, when you're looking at this, this is the cross-section of the tube. It's just turned. That's where twist comes into it. So if you were doing this, if you're making like a candy thing that had a flat bottom and round. I don't know what candy that would be like a Tweaks or something. International students are gonna be like what's a Tweaks? Maybe Tweaks is well-known all over the world. But you can twist it if you want. So this is where twist comes into it. You tap twist and then you can twist it like if you wanted that to be on the outside like that. So that's in a nutshell, that's the profile. So instead of this, and this is actually good because it will be round on one side. But see if we can, there we go. So we can make it a little bit more to10. So I'm just literally trying to make it like a Tongue. Bringing these nodes in. Kinda like that. But I want to flatten it up more to, I just wanted to be more flat. So I'm bringing these nodes up. And that's kinda good. It's still a bit small, but that's pretty good. Alright, so now I hope that we can, let's twist it. So that's better So it would be nice if I could use the gizmo now to stretch it. But the gizmo is a bit weird as it stands. So let's use pivot. Let's try to pivot this in a way that will help us. See we can as good, we can move the pivot. So let's try to put it in a direction that will help us. So if we want to stretch it this way, then we just put it so that's like up and down. So that looks pretty good. I think that looks pretty much perfect. So I'm gonna hit pivot again. Now this is our pivot. Let's see if it stretches the way that we want it to. It does. Okay. I think that's pretty good. I think that's pretty good. So the only problem I have now is the end of this. It would be nice if that was round, but we'll probably just have to make it round manually, but that's okay. So now this is looking pretty good. Tongue is not too big. So I think this is fine. I kinda wanted, wanted it to be closer to his cheek. So we might have to add another node there so that we can bend this a little bit more. Uncheck. Oh, now it twists back, doesn't it? So we have to undo. It looks like we have to leave, twist on. Otherwise it goes back to normal. Which is a bit weird. You would think that it would just hold the twist position, but maybe in an update. Let's twist it a little bit. Like that was time that we have 12 min. So that's looking pretty good. Let's bring this in a little bit more. Okay. I think that's good. Okay. I didn't want to test something out. I don't think this will work, but sometimes if you bring this down to four, you put this up to two, it'll rounded out, but not really in this scenario. Okay. Had to check. Alright, so I think that's pretty good. I think that's the best that we're gonna do for a Tongue. So let's go ahead and validate it and see if we can really turn it into a Tongue. Now, I'm going to voxel remeshing. It. Should be good. See how it hardened it up. And we really needed that. So I'm gonna take flattened and I'm just going to flatten up these sides to sort of make it round. Can solo it. Just flatten these up. Just be careful you don't accidentally hit the wrong part of the tongue. Flatten out these edges. The tube tools, so much, so much better now, It's really great that we have this. I wish I had this one I was doing the tangent Ninja Turtles. I did all of them back when I had COVID felt like garbage, but I got all, had a lot of progress with Nomad Sculpt. But the ribbons, their masks and stuff where they called them anyway, the little things that come off their masks. This would have been saved me so much time. So let's un-solo this. So now we can kinda see what we're doing. So we need to use move and we need to move this out of the cheek. So we'll kinda move it, make it a little bit bigger. Move this down, maybe move this up. A lot of that same push and pull that I always do with the Move tool. Okay, That looks good. It looks like inside the mouth, the tongue really isn't where it needs to be. So I'm just going to use move again. Just move it to where it needs to be. And I'm adjusting the size. Like for example with here, I can make it a little bit smaller because I just want this to come up. I don't want to move to much more of the rest of the tongue. Just that little section. When I want to move more of the whole Tongue, That's when I that's when I make move a lot bigger. So I want to, the tongue actually would be, now that I'm thinking about it, the Tongue would be flat in here. So this part would come out, this part would come down. So he does that make sense? So the tongue would be flat inside the mouth, even though it'd be coming out in turning sideways. So the only thing that's important now, as I just want to finesse this so that a little bit bigger so that the tongue looks like it's touching the side of the mouth inside here. Which is a little tricky. But I think that looks pretty good. I'm gonna hit Solo. And I'm just going to bring this part back some, I'm going to bring this part down a little bit. This is only because I just kinda wanted to look like it's going like an actual Tongue. But I think that looks pretty good. It's a little small. So I might just run that. I might, I will just kinda spread it out a little bit along the way. Just make it a little bit thicker. Make this smaller just to kinda make this a little bit more round at the end. But I think that's good. I'm going to save because I don't want to ever do that again. At least with this, you want to make sure it's saved. Now, we can smooth this out. Hopefully it will just have a nice smooth looking tone K. That looks good. So now I'm gonna do solo. So we can do this little line. The little Tongue line shouldn't be too difficult, doesn't come all the way to the end. So it comes about here. So we'll just make a nice little path. Just like a dog, something like that. And then I'm just gonna go ahead and smooth it out. Kinda keep it looking nice and natural. Not too intense. Love it. I love it, I love it, I love it. Very happy. Alright, so let's make sure that we save. I think we just saved, can ever save enough. Okay, great. So when we come back the next video, we will do a Hands. I think we've gotta get to the hands. The hands and then in Dessert will be, will be good 11. Pudgy Hands: Let's make some hands. So make sure you heavy Character saved. And I think we're going to use cylinders for the poems. And then we're going to use spheres to make the little sausage fingers. And then we'll do the thumb from there. So let's add, we'll do it on the top. So I'm going to add a cylinder. And I will just move it up over top so we can see it easily. Use front. Okay, So actually, no, this is fine. Let's use snap and then snap it forward. We can just shrink it. That's a good general size. So that's pretty good. So now let's just go to the front again. So this would be the palm and we'll be able to do with thumb over here. I'm going to rename this poem. Okay, so next, let's add sphere. So we use your Gizmo and bring it up. Scale it down generally to let the width of the hand I think is fine. So maybe something like this. That's fine. Okay, so what we need to do is we need to stretch this sphere out. We want to stretch it out up and down. So first let's go ahead and validate it. And I'm gonna actually going to clone it. And this is gonna be the start of the thumb. So I'm going to call this one a thumb sphere. This is the clone. The thumb sphere is gonna go probably around here, maybe a little bit bigger. So I'm just going to leave that there for now and go back to this sphere. This is gonna be a finger. So let's rename this finger K. So now what we need to do is the same thing that we did before. We're gonna do symmetry. Grant put this to vertex. But we don't want to stretch it out this way. We could stretch it out that way and turn it. But you got to, it's better to get better at the symmetry. So it makes more sense. So we're just going to change this to the green symmetry. I think. We'll go here and I'm pretty sure we turn that off. It's the green. Okay, then we have the green line, like so. So now we have symmetry and vertex will be able to stretch these out. They're actually really might be too big. Some sausage. So let's shrink it up. So the width is about where the hand is. So here's something like that, I think looks pretty good. That looks nice. Alright, So tube Tool probably would've been nice to. So we have this finger. Let's test it out with the tube Tool. Actually. Let's go tube Tool. We'll do path and we'll just make two of them like this. Hit radius and we'll make it, well, we won't hit radius. And we'll just, we'll use this orange node to make it thicker. So we'll kinda match, match this. We'll make it thicker. Like so. And let's try this little round to make the rounds. So let's go here. But this to four and then change this to two. That usually makes it round, but it's so small. Let's use the gizmo. I can find it. Let's use the gizmo and actually we should be able to make it wider with this orange. I keep forgetting about this. But it's still not straight. So there's still some issues we can straighten it out like that. That's okay. So let's see how it is. The main reason why I wanted to use this is because we can put a bend in it, though it looks like it's not really bending that. Well. Let's see if we add another post subdivision that helps at all. No, it doesn't. What if we do spline spine helps less? It's not bad, but it's you can see that it's not, it's a little bit hard to maneuver. It doesn't really work the way that would make it easier. So unfortunately, we're just going to leave it. But it's good to try out different in different methods, but I think I'm going to stick to stick to this one. Okay, so let's start with this. Let's make it more of a poem. He looks like it is more rectangular palms, but they still, everything should be round. Ground is like cute. So we're going to keep it round. So we're going to hit front. And this is pretty good. We're going to validate it and just use move. We'll turn symmetry on. But we actually want to do both sides. So let's also do the just the right one. Yes, we wanna do the green as well because we want to move the front and the back parts as well as the left and the right. So essentially we're just gonna kinda make it more square. Just like that. Keep it simple. I think that looks great. So now we'll just use our round edge. And let's just round this out. A couple of times. Nice and smooth, nice and square root and round. I think that looks great. Alright, so he's gonna be holding a plate. So this is gonna be the open part of the poem, and there's gonna be a few fingers here. So if this one is he has three fingers. So there's one here. And then the other two. So let's just hit Clone and move this one over. Let's make sure we take it off symmetry. We can go back to just auto. So we have two. Let's hit Clone again. Those are our three fingers. Pretty much. It might have to make the palm a little bit wider. So maybe something like this. We need to do the thumb as well. So the thumb can be a bit tricky. But I just like to think of it as like a little like chicken leg. That's honestly how I think about it. I'm going to clone the thumb sphere. And I'm just going to name this thumb. I'm going to shrink it, stretch it out. Okay, So we're gonna put it pretty much over here. So it's a little bit tough to see to kinda just make the him holding the plate in this sort of angle. It's a little tough. But I think that we I think as long as we make the bulk of the hand and then move it down to the plate. I think that'll make it a lot easier. So all of the thumb is, is this basic area down here. I'm going to actually stretch this. I'm just going to use move. We don't need symmetry. I just wanted to stretch this out a little bit with the hand. This will be on the palm side. This is this round piece on our thumbs. And actually put on a need to go this serious with it, but I can't help it. I guess. I think that's pretty good. I'm gonna put a bend in this part of the thumb. And do we wanna do symmetry? Probably not. Let's just push this up. We push that up. I think that looks pretty good. It looks pretty good. Let's put it a little further away from the hand. And I'm gonna spin it a little bit. Let's take it off snap and just spin it a little bit. Something like that. I think is pretty good. So let's see. We can just drag down from here. We might be able to just drag the thumb or move. Maybe we'll try move. It's not bad. Okay. This is just an arch. It looks like maybe we'll make it a little bit thicker. I think that works. I think that looks great. Actually you can tell when I'm like surprised myself. Alright, so the fingers actually really liked this hand. I'm gonna save. Okay, So this is a great hand. But we need, we need two of them. And maybe we should, maybe we should bring this one Down and place it. And then we can just Mirror. So let's just kind of maneuver this. Actually I'm going to save one just in case I can remember how the other hand slope, but I'm going to save what we have here. So I'm going to take the palm, fingers, thumbs All of this. And I'm going to connect them all. Sometimes I just kinda save because I might want to use it later. I can't remember the rest of their thumbs. Are there. Hands are in the same position. So I'm just going to clone. And then I'm just gonna hide this and just hide it away. I need it later with body be even. I know I'm not going to use that again. Okay. Anyway, so back to the fingers. Going to move. Okay. So as you can see, they're all his hands are like little curved. Fingers are a little curved. So we're going to take it off symmetry. And this one. Let's see if we can move it. Let's switch the symmetry to the back, to the X. I don't see it. Maybe the boat now I see them. Still don't see the X. What are we doing here? Okay, Well anyway, let's see if we can move this. So let's just turn the symmetry off. And let's use move. Pretty big. And let's see what happens if we bend knees. Okay, so bending funny, which means we have to voxel remeshing them. I'm just gonna do about 01:50 and I'm gonna do each one at 01:50. Okay. So we don't need that much of a bend in the first one. That looks pretty good and then we're just going to bend it. Let's put the pivot on the other side. So we just move the pivot down. Again. The pivot is here. The pivot is the center of the gizmo. So you can just tap on the pivot and then you can move it wherever you want. You can change the gizmo around. But when you move the pivot, which is what we just did, then when we turn it, it's going to turn on that pivot. So that's what I that's what I just did. I hit Undo. That's fine. Okay. So this one is gonna be just maybe a little bit more, turned a little bit more. I'm gonna put it into the hand a little bit more and bring it down. So maybe something like this. And this one is who might be able to use them all. Which has been, the more, I'll do it the hard way. So symmetry is off. So let's bend. This guy. Still looks kind of funny. Okay, so now let's just gizmo it to the proper place. Let's move the pivot down here. So we'll move it back into the hand, will rotate it. So it's a little more. I think that's pretty good. I think that's good. We have the pinky move pivot symmetries off. Now we'll just do the same thing. Put a bend in it, make it a little smaller since it's the pinky. Move, the pivot, save, some of that is randomly saved whenever I get that feeling. Term we can. Okay, So now we'll just this one. So all the fingers are touching. Rotate this a little bit of this with finger down, a little messed up, but I think it'll be fine. So this one is turned the most. Okay. Yeah. I think that looks good. The only thing that I think I might've did a little bit wrong as see how the, on the thumb, actually the arm goes here. This would actually become this. This actually might be perfect. Not perfect, but you know me Let's take this sphere and just move it out a little bit more. So there's a little bit more of a comes out and then go straight. Let's move this finger little bit. Just to a nice push and pull. Okay, I think that's pretty good. So we'll have to kinda like fix it up as we go, but I think that's pretty good. And let's name this one right palm or less. Name it. Our poem. What I'm gonna do is take this and bring it down and position it, fixed the fingers and then to the Mirror. That's the smarter thing because if there's something that I need to change or if I need to do it again, worst-case scenario, then it's not worth spending the time to do what I was just going to do. Now I can re-size it, re-size everything. It would be straight off of these arms so we can position it. The arm always goes closer to the this is always straighter. This always has that curve that comes out. So that's why I'm, instead of positioning in the middle, I'm going to put his position at more this way. So this is more straight. So that looks pretty good. Actually. I'm going to open it up and then they look like they're a little bit too big still. So we'll make it a little bit smaller. Now we get to see, okay, So this is kinda close to where the arms are. But we want to use that anchor. We want to use where the Plate is. But now that I'm looking, the Plate is actually a little bit too far away. It seems like Let's look at our view. And the Plate. The middle of the plate is right over the middle of the foot. So I'm going to let's validate this Plate. And then let's move it more in. Go back to our view. Okay, so now it's about more in the middle. This part is closer to his chin. That looks good. So now I think the only thing that we have to do is take the arm, the arms look pretty good. I think the size of them is pretty good. But we can just twist them so they can fit. So it looks like they're coming from his body to the sides of the plate. Wait, where's the body? I got real nervous for a second. So in the next video, we're just going to continue working on these. Hands. Are going to get this right. Don't forget to save 12. Hands & Arms: Alright, part 12, we're going to continue with these hands. So what this shows us is it's not really going to work if his hands are going straight, like we did in the last video. So we just opened these up. Now, if we just tap the hand, it might move the whole group. Nope. Nope. Touch the poem. It should move the whole group. We want to open this up. Okay, It's starting to look better. Starting to look better. I think maybe we'll tilted down, get that thumb into place, or maybe even just leave it. We like where the Plate is. The thumb looks a bit along. Thumb does look a bit long. And the fingers aren't quite as bent as I would've liked. But they still look OK. Ok, OK. You know what else? I might just do the whole arm and then write, not going to do that. Okay, So let's see what this, Let's see what this needs. I think we need to twist it more. So we've More like he's holding it. You really have to like just think about how you would be holding a plate. Like we hold the plate like most of the weight is here on the inside of our hands. So I think I want to do that. I think that's seems a bit better. Thumb we can probably bring down and we can put it a little bit more on the plate, so I'm going to rotate it. I still wanted this to be smooth. That's why I bent it up. It was like this. I still want that to be smooth. Even if I bring this down, I might just like, still try to make that kind of smooth. That just makes sense to me. I'm going to freestyle it and go with that little sphere in the middle and just move that down. So then we have that contact with the Plate. I'm always going to continue to turn it every which way just to make sure that it looks good because it's a bit hard to you just want to be able to do you wanna look at it from all different angles. That's the only way that you're gonna be able to tell if it looks good. So now these fingers, so this this finger is not nearly enough. So I'm just going to bend it again. I'm just going to bend it more. So I'm going to push I'm going to pull to bend it a little more. And I want to position it now. I want to cosy it up to the plate. And I want to put it a little bit more underneath. And I want to bend it a little bit more. Now I have to move this up and I want to put it a little bit more into the into the hand. There we go. See that it looks like I want it to be touching the plate. I want you want contact. You definitely want contact or else it's not really going to look logit. So now all these fingers, I'm just gonna kinda do the same thing. I'm going to push them a little bit more in this one maybe I'll bring down and I want to twist it a little bit. But I want contact with the Plate on all of these fingers now, but I just need to separate them more. Not even separate them, but I just need to bend them a little bit more. It's okay if they're not completely separated. I think it makes it look a little bit more real actually when they're not completely separated. So this looks pretty good. So another thing that I kinda wanna do is, sorry, I know I insistently, insistently move the canvas around, but I just like need to see it at all angles. So that's what I'm doing when I do that. I know it probably seems a bit erratic, but I just need to see it from every angle. That also gives me ideas of things that I might want to change. So that's another reason why I do that. So I'm going to take move and I'm just going to round out this poem a little bit. Because I like the position that the arm is in, even though I can move the arm a little bit more, me make this a little bit smaller. I'm just going to draw this out a bit just so the whole hand, let me take it off symmetry because it's making the other side wide as well. We just want to pull in. Let me think we need 3D. We don't need symmetry at all. But I'm going to turn this off just because I like to just have the default exon. Even though I'm not going to use it right now. Let's make it a little bit bigger. I just want to round out this hand. Whoops. Maybe push it a little bit. Maybe pull it a little bit down here. So that's gonna give the hand a little more roundness. Just in the poem. See how like our palms is around. They're not super flat. So we're just going to add some roundness. I think that looks great. I think that looks fantastic. I still think the thumb is a little long. So I'm going to want to have to move the pivot so that we can just squeeze it. Maybe align. I think a line we're actually works. Sometimes the line happens to be in the right direction. So now I'm just gonna make it a little more stubby and push it a little forward. Now that I've done that, I just have to make sure that it's still I think I can tilt it a little bit more. I can move it like that. I need to put it more on the plate. No, I think that's actually pretty good. It seems believable. It's touching the plate enough. I'm good with it. Fingers look good. I can probably just move them a little bit more. Okay. This looks good. Little sausage fingers. And we can actually, we can actually bring the palm a little bit over a little bit more. Since the fingers are kinda turned. Maybe we'll pull this bottom part out a bit. So that's pretty good with the arm. It's pretty straight. And I'm happy with that. I don't think I need to mess with that anymore. I think it looks good. So the arm though, I want to go back to the tube Tool because it looks like we can still mess with it. Right. Let's see. Oh, is this a sealant? What is this? Is this It's not validated or it's a cylinder. That's what it is. Okay, it's a cylinder, so let's validate it. And then let's just tilt it. So we're going to tilt it a little bit more into the body. Just jumped off my lap. So we're just going to tilt it in, slide it in a little bit. Maybe up, tilted a little bit more, something like that. Then I'm just going to use Move, move to a pretty big and then just kinda drag it into the body. I think that's fine. I don't think the Arms gets smaller at the shoulders. That might've been something that could have possibly been useful. I don't want to see what it wouldn't look like now, if I did that with the arms. I guess that's how I guess that's how we learn. So let me I'll tell you what let's save. Now let's go back and take a look. Because if I don't like it, I can easily. So now I've undid undoes. Now I can hit radius and maybe we want to make this side a little bit wider. In this side a little bit smaller. I think I liked that better. I know it's I get excited. I don't even know what these do. Can I still move them around? No. I think I like that a little bit better. There's just something about that that feels right to me. Okay. So what did I say? Okay, so what we'll do the same thing would just validate it. And maybe we want to even, lets take it off of a line. And maybe I just wanted to do a little bit of that too. It really have to be that doesn't really have to be thick that way. I think that's better. Works better with the Hands. Honestly, I'm just going to use move at a pretty big so it's nice and smooth and just push it into the body. Same thing with here. You can just push the bottom and just kinda even it up with the hands. Like so. I think that's good. So part of me wants to just there all the same color as well. It's good to know. This thumb is a little bit crazy. So we just need to, or even the hand, we just need to smooth this up together a little bit better We will take the roundness of the thumb and just kinda usually to marry this together a little better. Before I do my voxel remeshing, the shapes, you're looking good, It's looking nice and smooth. I'm going to save because I like this better. There we go. I think it looks I think it looks good. Okay. So this hand I love. I think we can just take this arm and just make, if we can make another one that would be perfect. But we probably have to voxel remeshing it first. So I think I'm just going to take this whole arm and the hands and everything and voxel remeshing it together. But do I want to? The only downside to that is like we're gonna lose a little bit of this. Great. The top, not the topology. These creases in the fingers. That's the only thing I wish that I wish that we can mask off part of it and just voxel remeshing the part that goes into the, I wish we could do that, but it's not possible. So I think the best thing to do is voxel 3D mesh. Little by little. I'll show you what I mean by that. If we take the thumb. So if we take the thumb sphere, the thumb, what else? Can take the pinky? We can take this finger and the poem. So everything except the middle finger in the arm as well. And the arm, actually, I'm going to save. We have all of those things still picked out. I'm going to save. And then I'm going to voxel remeshing this together at around 200. So we voxel remeshing all of that together at 200. And then we can smooth, you can smooth this out. I'm going to do it gently because you can see that it's still a bit malleable. You can solo it now. You can smooth all of this out. Make it look nice in cartoony. I loved that. There's a, I love a good smoothing that I don't know what they even means. Okay, So that looks great. Perfect. That looks so good. So now I'm going to un-solo it. So now we have this other finger here which we could leave. But I think we need to voxel remeshing it as well. Unfortunately. But I think what I wanna do is marry it up to this a little bit better. Because I don't want to have to smooth it out too much. So I'm gonna bring this back and just try to marry this together as much as I can. Okay? That actually looks pretty good. I'm not even have to, but let's try it. So now we'll take we have the finger and then we have where's the arm? Okay. Rma, I'm going to bring up. So then we have the finger. So let's save. We can take these tube and voxel remeshing together. I'm gonna do it around 300. I wanted to be fairly high. So we'll do it around 300. Still looks really good. I just want to smooth out this section where the finger goes into, but that's it. I don't want to really smooth anything else. So when we voxel remeshing the arms to the body, will do it over 300 13. Arm Mirror: Arms at one K. Still looks okay. Okay. So it's looking good. I'm happy with it. So now arm a. Lets see what happens if we add it to a mirror. Here's the front. If we add to a Mirror, maybe it will go where we want it to go. So good. Ever seen arm a add Mirror? Alright, look at that. Think that looks good. Now we'll take, so now let's validate this. And uninsurance. Yes. So now we have the arm here with two. So we have arm a and arm a. We can delete this because these are two separate pieces. So one of them can be which one is this? Let's see. Okay. So that's right arm. That's right arm. This one is the left arm. Okay. So that's the left arm. So now we can just deal with left arm. We can get rid of this. We can get rid of R&B. Now we can just play with this arm. So we'll just turn it a little bit and bring it right to our Plate. Will married up to her plate. We have to make sure that it's the right spot on the body. But it's only a matter of lets move the pivot. Pivot a little bit more here. Right there I think maybe like at the wrist. Let's see if that helps us out a little bit. That might make it a little easy for us to work this out. Okay, It's looking good. We'll move it into the plate. Maybe we'll move it forward a little bit. Okay, Let's take a look at our view. It looks good. That looks really good, really good. Let's take look at the view again. Also were an orthographic. Let's take a look in perspective. It looks good. We can probably move this arm out a little bit more as you can see, it's poking through the back. So that does make sense. So I'm going to go back to orthographic. But it does make sense that we move this arm up a little bit. So let's see what happens if hit a line still. Ooh, yeah, it's a little bit better. Easier to move it straight out. So I'm gonna move it straight this way. Maybe around there. Let's take a look at our view again. Okay, that's a little better. It makes sense. Kinda want to put this arm back a little bit. Although Let's move the pivot on this, on this arm. Even though it's it's kinda perfect where it is, but I think I'm just going to slide it back a little bit. Still looks pretty good. Everything's still looks pretty good. Let's take a look at our view. Okay, that's good. That looks that looks good. It looks natural. Like it. As far as the end of the arm, it can probably just smooth that out a little bit. Perfect. So that OK, That'll flow greatly nicely with the body. Okay, so now we're at a point where so this is still a tube. And we can, Let's validate these tubes down here. Actually, before we do that, Let's see what happens if we, I just hit Undo. Let's see what happens if we do post subdivision. Just make them a little more round. I think one is probably good. I think one is probably good. Now validate. So same thing here. I'm just going to change the three dots post subdivision up to one. So all that's doing is just giving a little bit more geometry to the legs. You can validate who actually didn't, actually didn't look as this one. Does this look okay? It looks okay. It looks good enough. Okay. So the only thing is I want to bring these A little bit more into the body. Let's not a problem. So we'll just kinda pushed them into the body a little bit more. So the legs. It looks good. In a little bit more. Okay. That looks good to me. So now we can go ahead and I think we can voxel remeshing these legs. Leg B, foot. So all of this I think is great. I'm gonna do a quick save. And then I'm going to voxel 3D mesh this stuff together. So let's do voxel. Let's remeshing it together, like 200. Okay. Then we're just going to smooth. It. Just knew that all these wrinkles and referrals and all that other stuff. I usually voxel remeshing at 200. It's like a good median between being strong enough to hold the shape, but still soft enough to continue to have a smooth to smooth it out, smooth, smoothly. That makes sense. I did kinda wanna add, I might be able to add it here. Let's see if I can do it in Fleet as the only thing that I was thinking about. Adding on inflate down there. Let's see what happens when I smooth it out. Oh yeah, it actually looks pretty good like that. And actually kinda works. Just like a little inflate. And then I'll take crease and I'll try to get underneath it. Let's see how this works. So just get a little bit underneath it and then smooth it out. And kinda makes it look like this little fold here. I love making those. The only problem is sometimes when you voxel remeshing them together, it gets really soft. But luckily you can do it after the fact. Excuse me, like I'm doing now. There's one on the back to so we can try to get that one be a little bit easier. Sorry, this thing is moving around like crazy on me. Looks pretty good. Can double up, make it a little bit thicker. Because when you smooth it, obviously you're going to lose a lot of that. But it's okay because it keeps it looking a little bit more natural. You don't want it to be to see if we can do a double there. Let's see what looks like when we smooth. That's good. You would just want it to look like a wrinkle. Keep it simple. I think that looks great. Okay. So I think that looks good. I think we can do this side now. We can try to do let's try to do the writ the wrinkle with inflate. Let's try to do it and see what it looks like. If we do it. First of symmetry is still on. Let's do them in the bottom to just kinda see what happens. Actually, I don't know. Let's try it. So voxel 3D mesh around 200. Smooth. It looks okay. This one is a little muddy though. I think we need to just not do it for this one. For the front, at least. It's a little muddy. So we'll just voxel remeshing as is. Looks create and probably could have just voxel reduced it to the body. But I think that looks wonderful. Maybe we'll add one to the back. Let's make it a little smaller. Sure, it's nice and smooth. Maybe add a little crease on the bottom and top. Just smooth again. Just to kinda keep it natural. Nice. I love little details like that. They really, they really make a difference. So I'm going to solo this. Oops. I meant this leg because this is bugging me. See that like not there. Don't like that. So what I'm gonna do is just flatten really big. I'm going to flatten this out. Check the profile, check everything. So flattened out, flattened out. I know. Flatten it out and then I'm just going to smooth it. Okay. Yeah, I think that looks okay. It might take mood and just a little bit of a wanted to be ramped perfectly round. Okay. Good. Better. Alright. So I think that's pretty good. I know I paused it, so I think this is long enough for this part. I think next weekend. I think we can voxel remeshing them together like we have to do the ears, the body, things like that. And after that we can get onto this little Jell-O cake thing. Alright, don't forget to save 14. Voxel remeshing & Joining: Alright, so there's a few things that we can voxel remeshing together now. But I think I want to wait before I do the head to the body. Let's take the body and then let's split that first. So let's use split. And let's take maybe we can use ellipse. Maybe we can use ellipse. So let's try to make an ellipse. Okay, that's not going to work. Let's see The best way to do do it with ellipse. So something like that. Be nice if we could. Oh, there we go. So we just do it a little bit in the middle. It's still a little bit. I'm going to turn him a little bit this way. I'm using the lips with split. I don't have circle. Should use centered. This is good. I'm just as I'm trying to make the ellipse, but I don't want it to be so close to that leg. That's the only thing that's bugging me. So I'm going to turn him a little bit more. Still close to that leg. Maybe I need to turn the other way. No. Okay. That's a little better. That might actually be good. I just didn't wanna do like a straight line across, like that's kinda boring. I think this works. So now both sides, I'm going to save this because I like it. But both sides, I just want to voxel remeshing. I'm going to box Remeshing like 200. And then this bottom piece, I think we can voxel remeshing with the legs. So let's find the Lewis. So we have this leg, leg a, leg B, and the body split. Where's the body split? Oh, by the a. Okay. So we want a box 3D mesh all these together. I think I'm gonna do it at like 300. Okay? So now this is altogether at 300. I'm going to take smooth and just smooth out. Let me turn symmetry off. I'm just going to smooth out these legs. I want to be a little bit gentle because I don't want to ruin top crease where it goes into the body. I want to be very gentle with that. Maybe just to round edge. 123, maybe that's it. Still see these pretty well. You have to be careful though because rounded edge we'll get rid of some of these details. But I think that's fine. So I'm going to take the top now, which is 138 K. That's quite big. But I'm just going to do rounded edge on that as well. I think that's fine. Okay, So we have that break there. So now we can go back and take everything else and voxel remeshing it. So I'm gonna go ahead and save. I just want to make sure that everything is equal. Otherwise, when we Remeshing all of it, some things are going to be a little bit, there'll be less pixelated looking. This definitely. So I'm going to just go to multireligious and subdivide. Subdivide again. And I'm going to use rounded edge. Okay, so that's for that Mirror. Use round edge. And again, I think everything else is pretty high. This is not. So let's multi-rate and sub-divide the nose as well. Okay, so that's good. So I'm gonna save and I'm actually going to save as new. So Smurfed Project one. That way if I need to go back or if you need anything from here before I voxel remeshing, we have it saved, so I always like to do that. Now we have the head, the nose, these mirrors, and the arms, and the body. So now let's voxel remeshing that at 03:50. I think I did it through 50. Want to keep all that nice detail. The degree mesh. Okay, there we go through 50, looking good. So now we can go ahead and smooth all of these contact points. Symmetry. It looks like it's actually still intact for some of it. But for the bottom are not really going to use it. And it doesn't really matter if we use it now because it's, it's kinda together. And there's gonna be no extra detail because it's all just blue. But we definitely want to get these ears looking right. So we just want to smooth out. Smooth these sections out. Yeah, that looks good. Actually And we can smooth out the neck part where the head goes into the neck. It looks good. I'm going to take it off symmetry. And I would just kinda do these arms and get rid of those like pinched sections. I wish I could kinda get rid of the more of these pinch sections, but it's kinda hard to get rid of that. I find that very, very difficult to get rid of. Unfortunately, it's just sometimes when you merge, they just kinda like show up and there's just nothing you can do. Sometimes you can pinch it out. Sounds weird. Pinch works. But I don't think it'll work on here, especially the fact that they're clean and how they're spaced. I think that's more of what I'm concerned with. Because if you do pinch, sometimes you can you'll start to move that line. It's actually not too bad. Let's see if maybe it'll work. It looks like it is kinda cleaning it up a bit. Just making that lip a little bit smaller. So maybe maybe it's a little bit better. I know when I used to do this, I had issues, but I'm glad that I kinda tried it out because it looks like it might be making it better. So let's see if we can do it on the bottom as well. I think it looks pretty good and the spacing is still pretty even. But I don't like those pinch marks, so I think that's pretty good. I think it's pretty tight. It might just be it might be a little bit MCM, everything kinda moved up a little bit, it looks like. But I think that's an easy fix. I think we can take this and the tail. Whereas the tail, I think we can take this in the tail and just move them up slightly. I think we're good. It looks great. Let's save four, we lose it. Alright, let's take the hat, hat, hat tip and it's voxel remeshing them together. Think 200 is fine for this. That real ugly. Smooth that out. Still a bit lumpy. Unfortunately. It's a bit lumpy and I don't really want it to be. So I might have to voxel remeshing it lower. So I'll go down to about 100. And hopefully this will smooth it out. If you run an issue and things aren't as smooth as they should be, just voxel remeshing lower. Okay, That's much better. I think that's I think that's good. Much better. I want it to be perfect. So I'm just going to raise this up a little bit. I want to make this curve as perfect as I can get it with the naked eye. This kinda comes up a little too much. I know my intention to detail is sometimes it's little, a little bit bananas. Also. I want it, I'm gonna do use inflate. And I wanna, I wanna do a little thing here. I might have to change my inflate. I feel like it's a little bit I feel like the shape that it makes is a little funny. It's a little sharp. So I want to go here. Alpha or maybe it's a falloff. Fall off. I think I wanna do one of these. I think I'd rather it be sort of like this. Let's see if this helps. I think that helps. I think that's a little bit better. It could even be a little bit more wide. So let's see how this looks. I think that's a little bit more of what I'm looking for. I wished the top was a bit more flat, but I don't think I have time to play with that right now. I just wanted that little lump Which I think I achieved. See what happens if I put the intensity up. Okay, I guess that's to be expected. But maybe this will make, make it a little bit more. I liked that, I liked that difference. I liked that little lump there. I like it. I'm going to use crease to enhance it. Just smooth it out and keep it nice and natural. Nice. Again, I love those little details. Okay, So I don't think we need to connect the brim, so I'm just going to the hat top and hat brim. I think I'm just going to join and this will be the hat. Okay? So next, I just want to make the eye Brows. So here's little black eyebrows. So that's pretty simple. We'll just do the tube Tool. And actually I want to practice making them flat. So we're just gonna do curve. We'll do snap because we wanted to stay on the surface. Okay, So there will be, can just do this on her own monopoly, need to follow the I think something like that is great. So it's spline. And I'll do it the way that I normally do it with eyelashes. So I'm gonna make this side bigger, this side smaller. And maybe I will do my little thing. I'm gonna take it off of snap here. I don't know if I want to do my little thingies that I always do what my characters. I think that's four eyelashes though. That might be for eyelashes. Write. Undo that. I think that's for eyelashes. I think I want to do this more traditionally. So I'm gonna make this smaller. Make this a little smaller, this a little smaller, but this bigger, bigger. Let's get rid of a couple of these nodes by just bringing them together. The smaller, something like that, I think is perfect. I want to try with the profile. Yeah, that's exactly what I wanted. Actually. That is exactly what I was hoping for, something like this. So now I'm just going to tweak these a little bit. So it looks a little bit more natural sizes. But I think that's actually pretty good. Let's hit Mirror and hopefully it will be on the other side. And look, see if we hit front and it's pretty pretty much perfect and the other side as well. So I think I'm gonna go ahead and validate how big are these. These are still pretty small. So let's see what happens if we do rounded edge. We probably have to voxel remeshing. There might be a little to no ink rounded edge. I think it It's perfect. So I've never really done the My eyebrows like that. Actually let's do eyelashes to, I always do that with my characters. So, you know what? Let's not stop here. Of course you don't have to do this if you don't want to, but you know me, I'm going to make my eyelashes like this. Boom, turn snap off, spline, make them nice and curvy. And maybe I'll break this one off a little bit. And it radius and make this bigger. Maybe I'll tap another one there. Tab radius again, and then I can make this smaller, smaller, smaller. See what that looks like because I might look crazy. It might be too much for these guys. Let's see how that looks. It looks okay. I can make this smaller and excuse me. Just bring this into the I 0 oh, snap is off. Let's see if you can bring that into the I bring this all of these back into the eye a bit. There we go. Just so we have like really subtle lashes that actually looks great. Looks great, the Mirror looks great. So I'm gonna go ahead and validate it and make sure that you label everything. So these are these are the Brows, these are the lashes. And we need them separate. So I'm going to take the lashes out and then add their own Mirror. Now we have these and obviously we have the name, we have to label them again. So I'm going to validate join children. So these are the lashes. Then we have the Brows. So we're going to validate Joining Children and then rename this Brows. Okay? So this is the body a. This is gonna be the head. The lower part is gonna be body B. And the hat should be above body a. The brow can be under body a. The lashes can be under the brow. The teeth as well can go up because they're on the face. So here the plate, so these are the eyes. Lets bring those up to I don't want to really connect them. So I bring them up there. These are, or these are the Pupils. So bring those up to and I want to name these mirrors Pupils and named this Mirror Eyes. Okay, Good. Oh, the tail to the tail should be connected to body a. I think we'll just joined. I think we'll just join the tail because it's gonna be the same color. Oh, the nose, did I forget the nose? I think I forgot to smooth the nose. You want to be really delicate here. Actually we can turn on symmetry. I want to be really delicate here because I don't want to, I don't want to mess with the mouth at all. The Mouth looks good. I want to keep it that way, but I do want to smooth off where the face goes into the nose. Okay. Alright, so let's save. Okay. So I think I think that's good. I'm just take another look at my all this stuff. Everything looks together. It looks good. Brows where the teeth are connected to the Brows. Tie. Probably just joined the teeth together. Just call them teeth. Tethys. Body B. We'll put body be up by Baiae as fine. Tvs Plate. Okay, good. Good, good, good. We'll save. Alright, so next we will come back and do the dessert. I'm pretty sure that we don't have anything to do here. We'll just come back into the dessert and maybe these little details too, but we'll concentrate on this Dessert 15. Dessert Time: Let's make this just jello or cake, bunt cake. I don't know what that will kind of cake that is upside-down cake. I don't know, but that's where we're going to make. So let's use sphere. And we'll bring this fear up so we can see it. Okay, so we need to make these little sections. So we need to kinda make like wedges in a sense. So I'm going to spread this. I'm going to go like that there. And then I think I just want to validate this so I can actually work on it. So next, I want to use move, and I'm going to turn on symmetry. Here's the front. So I'm going to turn on symmetry. And I'm going to push the bottom part up. You know what let's do? Let's turn on the z-axis as well. So let's push the bottom part up. Some kind of just thinking about this as a wedge. And see the bottom is gonna be flatter. So maybe something like this. Okay, the top is maybe something like that. Go to the front side and just kinda squeeze it a little bit together like this. So this feels like each individual section, it feels like they would look kinda like this. Sort of like that. Okay. So another thing is that it looks like they would be flat. So I'm going to turn off the z-axis. So now we just have this red symmetry is still on and with flatten, I'm just going to flatten out flatten this out a bit because it feels like that would be flat and then I'm just going to smooth it. And hopefully this was like This is a good section. I think I think that's a good section. I'm getting some of these lumps and I don't want that. So I'm going to voxel remeshing. Maybe it like 100 or so. So remeshing it and smooth out those lumps. Okay? So now I'm this, I'm going to call this cake. I think it is kick. I thought it was Jell-O at first, but I think it is cake. I kinda want it to be jello though. So this piece, we need to add a radio repeater. So we'll do add radio. See, we have kind of it's there already. So radio repeater, I'm gonna go here and I'm going to name this radio cake. So then we go to the actual cake. Turn on our gizmo. And we're still remember which one that we're actually I don't remember which one the main one is, but that's okay. So we want to separate them. Maybe tilt them forward a little bit. We need more. So let's go back to the actual repeater, the red one. And we'll make a little bit more. So maybe something like that. That feels about right. Right. I think that feels about right. I'm going to tap on one of them and I'll probably just use move and just push it forward. Make it big. So it's like nice smooth movements. You actually can't see the top. So I think that's perfectly fine. I think that's good. Excuse me. So now we still wouldn't put the icing and stuff on top. Don't way. But this is pretty good. I'm gonna save it actually, I might just validate this. I'd like it so much that I think we're just going to validate this. Join children. So now it's one piece to 158 K, but we can choose, we can adjust that later on. So now we have it altogether. We can add this like icing stuff on top. So that's gonna be, that's gonna be Fun. So for that we'll take the mask. And we want to just mask off. So we want to just make nice loops. I'm in a little closer so they're a little more clear. So I'm just going to make nice icing Loops. Hook. It turns symmetry off. And just make some nice icing. Make sure we fill in the whole top. It looks pretty good. It's a bit doesn't look like it's far down enough. Some of these are pretty far down. Maybe we'll just kinda I tend to make them not even too. I think I want them to be even. So you can take unmask and then you can sort of adjust them as you as you wish. And I want to make everything nice and round. Yeah, I do tend to do that. I notice I tend to I tend to make when you make like icing or anything like droplets, like I tend to make them on an angle and I feel like it should be better. I feel like they should be straight down because that's how gravity works. But it's good when you know the things that you tend to do. So even if you do them, It's good to know. It's good to just be aware of them. Because if you don't know, then you're liable to not go back and change them. This looks better with them being straight, straight down. You want to make sure around all of these out. Okay. I think that it looks good. That looks good. Although there's still a bit high. Let's join these two. Just kinda bring them all down a little bit lower. I think. Way too much time on this. Okay, good. So now that we have this a little more here as well. So now we have that. So what we can do is we can use the mask tools shell here. I'll probably have to adjust this, but you can go down and do extract. So let me hit extract. It's actually not bad. That's actually a decent thickness. Might actually be workable. I think that's actually good. I just used the default settings. Here. What this does is it adds that on top, see, so it adds that on top. So let's go ahead and go to the part underneath. And we can turn off the mask, see the black underneath. So go to the mask and we'll clear that. So now we have this on top. Let's make sure that we label everything. So this is the icing. So we have the cake me of the icing. And it looks great. It's actually quite detailed to them. I'm a bit surprised actually. I think we can just smooth it Ooh, wait a minute. It feels like it's all separate. That didn't smooth together like it was. Okay. Let me so we have the icing, Let's voxel remeshing the icing, like 150. Now it's together. Okay? So now I'm going to smooth it. Now I'll smooth it and just make it nice round icing. It looks great. Okay. Okay, so now it's smooth. It looks like proper icing on top of our cake. But of course, there's still areas that we can add to it. So we probably couldn't have to push it all into. But we'll do that in a second. First, let's go ahead and add. I'm using I'm just using clay. I think I'm just going to add some round pieces to it. It might even add some round pieces to the icing. Because the icing is a little bit higher. So I'm just adding these round pieces and then I'll just smooth them out. Just to give it that thick icing. I think that looks okay. Let's take a look and it looks okay. This little thing looks a little bit weird. So I'll just smooth that down a little bit. A little too aggressive with it. But I think that looks good. Although I kinda want pardon me, doesn't like it. I don't mind it smooth like this. But I think pardon me, just wants to use Move and bring up the middle. Perhaps. Maybe just smooth it out a little bit more. And I'm going to use move. Yeah, I like to just more simple. I do like that better. So I'm gonna move these sections back into CA, you can see the underside. You don't want to see the underside. So I'm just going to squeeze, squeeze these back. It's always gonna be better if it makes contact with the cake. So all of these, excuse me, all of these, I lose my voice after 2AM. Actually, it's 03:12 A.M. right now. Okay. All these little okay. I think that's good. Okay, that's good. I'm gonna save. It looks great. Alright, so now there's little, there's a bunch of little berries, mushrooms, which side? I want to be the front. But it's moved out pretty good. I think I'm okay with that. Is makes sure all of these sections are here, they're all look good. So now we just have to choose which part is gonna be kinda front-facing. So let's spin it I think I like this side. I think I like that. Excuse me. So if our view is pretty much here, then I think I like this as this is the front. Okay, let me make sure I move this little piece in a little bit more. Okay. So now there's lots of little Fruits, but I think we can add those. After the fact. I think we should go ahead and take the icing and the cake and move it into place. Let's do pivot, center, pivot. We'll move it down. Shrink it. Nobody said to find the Plate. It looks pretty good. Let's make it a little bit smaller. Maybe we'll stretch it a little bit. Think it looks pretty good. It is a little a little bent. It's a little curved. But I might not have to add the curve. I think it's fine without the curve. I think it's fine without the curve. But the curve. Anymore, I think I might want to add the curve. Let's take the cake first. And they joined. They are, okay, so we need to voxel remeshing the cake as well. So I'm going to remeshing, I'm going voxel remeshing it like 300. Okay. I'm gonna do round edge once, twice, three times. Okay, so that's pretty good. I might add some details to the cake later. So I'm gonna leave this high. Right now. I'm going to take move. And I'm just going to, I'm just going to push it. Push it, pull up a little bit on the top. Okay, so now it has a little bit of a bend in it. Pull this side. I'm going to move it back over. I need to disconnect them. So I'll take the cake, I'll move it back over to the middle of the plate. Size. Looks good. So now we just have to take the icing and make that work as well. I mean, still looks pretty good, but obviously we have to make a few changes. So I'm going to push this side, I'm going to pull this side up. And I'm just going to pull out these little pieces now. Because now that this part on this side or just inside the cake, a little too much. So we're doing the opposite of what we did before. Then on this side, we'll probably just have to push. I think it looks pretty good. I think that looks good. It's got a little bit of a bend in it. It's always something lets pull this out a little bit. Let's make this a little bit smaller. I just want this little section to come out a bit. Okay? Okay, cool. Cool. I like it better with the curve. So let's save. So now there's just a bunch of berries and things like that. These might be raspberries. These are just like around a little berries at it, actually like mushrooms. But we will do the Dessert fruit. After this quick break. Don't forget to save 16. Little Fruits: Alright, let's tress in some little berries. So there's a strawberry on top. There's a bunch of little round berries. He's actually looks like mushrooms. But I think they can just be barriers. I think it's fine. So we might not need this many, but we'll see where it takes us. So let's go ahead and just add some spheres. I guess we'll make the strawberry first. Let's go ahead and Let's go ahead and validate this sphere. And let's call this, let's clone it. And we'll call the first one strawberry. And we'll call the other one Barry. Okay, so we can go to strawberry, let's hide regular Barry. So strawberry, I guess we can just make the strawberry shape. So let's do symmetry. We'll do z-axis. And then we'll do move. We'll just make a strawberry shape. Whoops, I was using colors, not going to lie while I was gone, I was playing around with just playing around with the Smurf. Make sure we turn symmetry on. K will stretch that down. Make sure it looks good on all the angles will push the top-down. I mean, I think that's pretty good for a strawberry. I don't think it needs to be that intense. So what's the best way to get these little marks on it? Let's see, we could potentially use the stamp tool. And we go to this little thing here. Let's go to alpha. It looks like it's going to be a square. If I just do it now, it's a square. So if we change this, if we do the scaling and bring it up. So now it's see that round circle. So it should be a circle now. Okay, so that's good. Let's go ahead and let's sub-divide it. So we'll go here, multi raise, subdivided. Once we're using the stamp, Let's use sub. Lets make it small and I just want to see if we can. That's not bad. Actually. See if we raise the intensity if it goes a little bit deeper. Okay, so I don't know if this is the best and maybe we can change the falloff to something a little more strawberry like. Let's try that. That might actually work. We still have symmetry on, but maybe that's okay. I guess if you want your strawberry things to not be symmetrical, maybe just don't put them too close to the line. Maybe that's okay. That looks pretty good. We can turn symmetry off and then just do separate ones as well. You want to break up that being a little too symmetrical. You can do something like that. I think that's pretty good for a strawberry. I'm trying to get too crazy and make them a little deeper if you want. And now the reason why I make them a little deeper, as you can see that it just gives them a little more depth for the for the light to hit. It's gonna be pretty small. But you know me, I go all out. We're going to spend this much time here, then. I'm going to spare no expense. That's probably the best strawberry. I think I've done. A quick period of time. Okay, so now we can do this other little stem. Let's see. Let's do. So strawberry, let's do a little tube. We'll just do a little curve. Like so. I quickly don't need snap but So we can do a little curve like that. I'll do spline and I'll do radius and make this a little bigger. Actually, I'll do it twice. This way. We have all three. The little radio things are Radius things. We'll do something like that. Maybe. I think that looks good. Make sure it's written pretty much in the center. Let's see, we can make this round. Again. This is division four. Then put this to two. We can make this a little bit bigger. I mean, it's not bad. But still it's just not not where I wanted, what I want it to be. That's fine. So let's validate this. Let's do round edge. And we'll just rounded off a couple of times. And that's more what I wanted. Anyway. We have these little triangles, which I think maybe that's accurate as to what strawberry leaves look like. I guess we can take a quick look. Strawberry stems. Here they are triangular. Okay. So we'll go ahead and do this is the tube. Let's add a cylinder. We use gizmo and bring it all the way up to our working space. We'll make it small, flatten it. And now let's look at the front top view. Alright, maybe we'll even, okay, So we have this cylinder here. Let's go ahead and validate it. And now let's use the Y symmetry. Okay, that's what we want. The ink, we already have the read write and we have the red. So that's what we want. So let's just turn this into a triangle. Let's turn symmetry on. Then we'll just kind of shape this into a nice little pointed leaf. Leaf. So maybe something like this. Thanks, good. I don't think they really need to be that straight. I think that's good. So once we have that, we could round edge it a little bit. Then we could take move. Let's go ahead and turn. Let's turn that off. But let's turn symmetry off altogether. Actually, no, let's leave it on. We can leave the red exon excuse me. So again, just was not confusing. We'll use the Move tool and on this shape will actually just keep the red X. The only thing I'm going to do with move is just make a little bend in it. I'm gonna make move kinda big. That way. The bend is fairly even in soft and it looks, it looks natural. So something like that I think is all we need. Now. I'm going to move it using the blue. So I just kinda moved it off to the side. So now we can add a repeater. So we'll go here. What I just do, I think I deleted it by accident. We go back into our scene. We have our cylinder and let's add radio. So then it gives us that we can add a couple of more. And I think that's I think that's probably good. So we have to go down to the actual cylinder. And we can still adjust this if we want. So we can move this, we can move them around, we can move them all inside. We can shrink them. If we want them to be a little cuter. Lets bring it down to the strawberry and kinda shrink it into place. Let's make it a little thicker. And I'm going to stretch it out a bit more because the wrong oh, yeah. So I want to move it with this one. I'll it's a little small. Made it a little small. I did make it a little small. Let's undo. And so maybe I'll just make it a little bit thicker and a little bit longer. So this way when I shrink it and move them all back together, Let's move them down. Okay, it's not too bad. Remember, we're kinda working on this one. Base. Little thingy. Okay, I think that's pretty good. I think that's all we need. Now I'm just going to use move. I'm going to turn symmetry off. Actually, we can leave it on. We can leave it on, excuse me Because we're just gonna be working with this one leaf that has the red line. So we'll just leave it on that way. We can just pull the bottom and we can just adjust it. Like so. Then I'll just use the gizmo and bring it down into the strawberry. And then we can slightly adjust this and just put it right in the middle. But I think that's pretty good. Okay. So I'm pretty happy with that. So I'm gonna go ahead and this is our radio. This is the, this is the strawberry leaf. I'm going to validate it, Joining Children. And I'm going to rename it. Straw. The leaf, his, excuse me. I'm a little little tiny cold. That's not really cold. I think it's like allergies. I clean my whole backyard today. So it's a little bit of a struggle, but we're going to work through it. But all the the same excuse me. You know what might go back and make them thicker. I feel like they're not thick enough. I'm just going to use move again and I just want them to be a little bit thicker. I think. I'm still working on this one. Yeah. I think I wanted it a little bit more thick like that. Okay. I think I liked that better. So I'm just gonna do the same thing again. So select this, make sure you select this radial last. That way you'll get this menu and you can validate join children. These are the leaf fees. Let's go ahead and save. Now. I'm going to voxel remeshing them altogether at 01:50. And then I'm going to take round edge and just do a round edge on them. I think that's perfectly fine. So now I'll take the, this is the tube. So let's name this strawberry stem. Okay, So both of these can move down a little bit. I think that's I think that's great. Okay, So we have strawberry, strawberry stem and leaf is, I'm just going to nestle all of these together. That way we can move them all together where they need to be. So we'll move it down over, make it really small groups. And let's check out our view. And we can, whoops. Now we can kind of adjust it and just kinda look at the I think I kinda want it like this. Okay. I kinda like that. I think that's pretty good. It would also be nice. This is a little bit extra we can do inflate on this icing. Might be nice to kinda give them a little home. Kinda give the strawberry a little bit of like he's stuck in that icing kind of thing. And then just smooth it out. Just that little bit of like love to, to really make, to really like meld them together. So that was, I think that was the more difficult part, the little strawberry. So let's go ahead and save again. So now we'll just add some spheres. And I don't think these are mushrooms. I think we'll just make them varies, but we can make them different, different types of barriers if we want different colors. We already have the other here, we have our berry here. So we'll just go ahead and bring it down. We'll make it smaller. Maybe we'll make this base one. I don't want that to be a Raspberry, but maybe a little tools. I'll actually, you might not be that much work. Now that I'm thinking about it. That might be very easy. Let's see. Let's see if we can do the same thing we did before. So first let's make the indent on the top. We can squash this a little bit. So we'll square. Actually. It will squash it a little bit. Then I think I'll use what, what did I use before you move? And symmetry? I'm going to turn on XN, X0. So let's see if we can make this indentation in the middle. Got turn on symmetry You make it a little smaller, right in the middle. Now maybe we can use that stamp tool again and just make it a little bit bigger. We might be able to make that nice indent. I don't know why I said it like that. Remember, we can always go into here and change this fall off. We can change the falloff to something like this now. And also with this turns symmetry off, we don't need symmetry for this. So yeah, that's a better like fall off. And maybe I'll do a couple I write in the middle to kinda give it that depth. Okay, so now we can not do sub. And then we can see how it looks like if I wanted this to be whatever kind of berry. Or we could always do symmetry. That might make our life a little easier. Can turn symmetry off. If you want to do one in the middle. Whoops, then you can turn it back on. And we can kinda just let them rip. Let's do a couple more down here and then we'll turn symmetry off and do a couple just to fill in those spots. We'll do a couple up here as well. That's a good Berry, right? Am I crazy? I think that's a good Barry. So stamp tool, stamp tool is the MVP of this this class. So now we have a little raspberry that we can use a few times if we want, we can make some other fruit like little cherries or something. But this will be good. We can make this one in the air. Just like in the image that's making it a little closer. Maybe a little smaller. So there's one in the air. And we can clone it. Did that work? You can just hit Clone. And we can move a few of these down to the lips, to the plate. You can make them a little smaller. Again, I don't mind. I don't mind contacts. I don't mind them kind of going into the into the thing a little bit. Clone it again. Maybe is another one over here. Make this one a little bit smaller. Maybe. Okay. So maybe something like that. And what do we think these other ones are so confused at those? Let's clone this. Let's make one inside. Let's do one raspberry inside the icing. I mean, inside. Rotate it. So you can just, you know, you don't have to do them in exacts spots in but again, I'm just following the reference, so feel free. You're sure project. Again, I know I'm gonna do my inflate and just kinda make some really make this thing look like it's in there. Give it some love. And then maybe just one more of these on the plate and then it can be some other berries. So we'll take this one, go to the gizmo and clone. And I'm gonna do a line. It's just because it's easier to just move it in space. Okay, so we'll do one Down here. Maybe we'll do one more. A little bit smaller. Just a little bit closer. There we go. That looks pretty good. Okay, So we'll come back, we'll do a few other little cherries. And then I think will be, I think our base will be pretty much done 17. One Down: Let's just add the rest of these little Fruits in and then I think we can try to tackle those other three. I think there's gonna be much easier now that we have this guy all done. So let's see, let's go back up to the fruit. So we have the berry here. I'm going to change this one into rasp. I think I forgot the B. That's okay. You know what it is? I'm going to take all these barriers. I'm just going to connect them just so they don't get lost. So we have the berries, you have the strawberries. Let's do a quick save. And now I'm just going to add some regular barriers. We can just use a sphere. And I'm not gonna get too crazy with it. I'm always worried them an excellent you hit something else. I'm just going to turn this, I'm going to validate this. And then I'm just going to turn this symmetry on like we always do. And I just want to use move, excuse me, with symmetry on and I just wanted to, I just want to make it a little bit more of a cute cute around shape. Maybe just like I mean, it's, yeah, it's more, a little more organic than just the regular sphere. I think that's fine. I think that's good. Again, you can use stamp with yes, with sub. If you want to go ahead and add that little bit at the top, outlets turn symmetry off. You want to add that little bit at the top, something like that. And you can always just smooth it out to little more berry like. Now we can take this and just shrink, shrink CPU. And we can add, you can add one to the icing. Because excuse me, in the reference there is one of the icing. Think that might be nice. We'll make it a little bit smaller than the other one. I want to move it up a little bit. Me that's a decent spot. I'm gonna go ahead and do my inflate, whoops, on the icing. And then smooth little bit, I love it. So I'm gonna take this one Gizmo clone. Why I started talking all funny, sometimes make myself laugh at myself. Another one in here. Excuse me. I took a drink before and it went down the wrong pipe. Snow I feel have choked. So we'll put another one in here. We'll go ahead and do our inflate. So we'll put another one in there, maybe one more. So let's do a nice little clone. Not that. Keep the smooth tap on the very and then hit the clone. Maybe they make this one a little bit bigger. And we'll bring this right in the icing maybe right there. Make it a little smaller. Make it facing a different direction. And maybe we'll bring it a little bit lower just so it's a little bit different. And then we'll do My inflate. It's a little too much. And we'll go ahead and smooth. Okay, so now we'll just add a few of these at the bottom. So I'm going to go to gizmo and clone. It just makes sure you tap the barry. We can add a little few of these in the bottom as well. Maybe we'll kinda Nestle it in there a little bit. You can take drag and if you want to or move really small, you can kinda make it so it's like squeezed on the plate. Again, I don't mind a little contacts. I think that always makes things look pretty good. I'm gonna take this one again because we adjusted the other one and just cloned, just add a couple of more Make them a little smaller. So and of course, with the colors, we can make these like blueberries are pretty much whatever we want. So I'm going to clone this again and just add another one here. Maybe one more over here next to our little raspberries to give that little difference of color. And whatever we decide to make these good safe. Okay, So I think he's looking pretty good. So if we look at the image again, I don't know where the whole image is, but it's just a general regular back drop. Not too much going on. So I think we'll just add a plane or two planes. So we'll go to our Scene and we'll add clean gizmo, and we'll just make it bigger. Let's go to front. Now we have our plane and I think we can just leave it where it is. Let's turn on grid. It's actually perfect. So we'll just leave that where it is, turn the grid backoff. And let's go to our view. Or view is or actually seeing the bottom of the plane. Interesting. So it can be kinda like this is a little bit better. Let's save this as V2. So let's add view and rename this to. Let's take the plane and let's turn it. So we'll do snap, maybe 45. So we'll just turn it. 45. Oh, it must be in the raspberry thing. Lets bring the plane out. We're bringing the plane out and we'll name this one FSLR. Let's clone it. Actually, we can go ahead and validate these. I'll take this one and I'll validate it as well. And let's take it off of a line. And we don't need snap anymore. Actually, we can do snap 90, just type in 90. So now we'll move it up back here. And then we'll snap at 90. Doesn't really matter. We can move it up like this. Okay. Like that. So now he's has like a little backdrop. So we'll take the floor. Let's name this the back wall. We can go ahead and connect and Nestle those together. So now we just have a little, a little backdrop. You can also use your Gizmo if you want to stretch it out, make it wider or something like that. Let's take a look in perspective. This is looking good. Now at least you have sort of backdrop that we can work with a little bit later. If you don't want to do the other Smurfs, then you can skip ahead to painting. When I, when I light and paint all of the characters. So that way you don't have to do, if you don't wanna do with the other Smurfs than you don't have to. Okay, I'm gonna go ahead and hide this for now. 18. The Trio: Okay, so great job with this little Smurf. I'm going to try to move a little bit faster and we're just going to move through these other Smurfs. But we have a basis for everything that we did. So the other ones will be much easier. And it's, that's, that's one of the really cool things about Sculpting is once you make something like, we've figured all this stuff out. So when you're doing the other ones, we're not going to have to do so much of that figuring out because we have all of our answers. Okay, so I love it. Save, It's looking good. Lots of berries. Here's the other barriers. So let's just do a little bit of housekeeping. That's okay. You know what, all these berries are just berries. So we'll just keep them. We'll just keep them there. But I'm gonna hide all of this stuff. I'm going to hide everything. Maybe not the floor. We'll keep the floor and lets bring in the other image. So let's go here. We'll take away, we'll tap on that one, and then we'll bring this one in. You can hit Transform and you can make it a little bit bigger. So maybe something like that. Then tap again on the screen to go back to Sculpting. Okay, So it looks like all the legs are kind of indifferent, different positions. So we'll just start with the bottom one for now. We'll start with the body. And I promise you, it'll be a lot easier now that we did that first one. So we'll go to a Scene. Start at the top and we'll just add sphere. Bring this. I'm going to bring the sample box down. I don't know what I'm gonna do with it or if I'm going to ever do anything with it. But I don't know. Sometimes you just save stuff. Actually, we already have a body. We already have a body Down here. Forgot about that. Lets bring this up. Okay, we already have a body. They're all pretty much the same. They're all pretty much the same shape. So that's good. That's going to help us. I'm going to turn it this way. It was high, this sphere for now. Okay, So what we can do, they're all sort of bent, straight. So let's go ahead and take off. Well, let's go to the symmetry and make sure that we undo the Z, we only want the X. So using symmetry, you can see it's down the middle. We're looking at it on the left side and see how it's they're all straight. All their backs are straight. So that's what we're going to do to this. Going to use move. And we're gonna make this part straight, just like that. And we can make it a little bit more straight or bended a little more as we go. We're doing the back one, so I probably will or the bottom one. So i'll I'll bend it a little bit more. But I think that's pretty good. I think that's perfect. Maybe it'll make them a little thinner. Okay. I think that's perfect. Okay. So we have the body for this one. The legs will be somewhere under here. But I'm gonna go ahead and clone this. And this one would be body bottom. This one will be body mid. And then we'll clone that. And this one could be body top. Okay, So we have bottom. So that's this body. But me have put them in order. So then we have body mid, still looking at it on the left side. We'll use our gizmo and move it up and back a little bit. So it looks like it's sort of around here. Now the kind of big to take them all and just shrink them a little bit. Okay. Lips. Make sure that we do body bottom. I'm going to move that down a little bit. And his feet are actually touching. So I think that's a good distance away. The mid is up in a little bit behind. So that's right here. So this one should be body top. So this one is up here. And it's bent forward a little bit. Let's take it off snap and just rotate it forward a little bit. So obviously we're going to have to adjust these and make it, make it look better. But essentially, this goes up straight. This body is a little bit behind Maybe not that much. We'll move it over like this. And then this one is it looks like it's right on his heel so as he'll be here. So I think that's actually perfect. And then we'll just adjust it as, as we go. Something like that. Okay. And again, we're looking at the left side. This is the this would be the front. So we're looking at the left side. Okay, so let's add some, some spheres for the head. I'm gonna name this head. We'll use our gizmo and we'll just bring it up to the head area, which is about here. Maybe a little bit down a little bit more. So maybe something like that. Maybe move it up a little bit. Okay. And I want to, this one is with the bottom, so I'm going to nestle it at the bottom. And I'm going to use gizmo and validate. So I think it's probably better to just do one head and then use it for all of them. So let's work on the head, on the front. We'll do the same thing that we did before. So we'll use symmetry. We can enable the symmetry here. We'll do X and Z to X for now. We use move, turn on symmetry. So we just need to make the head kinda like we made the other ones. So I think they're just like a little bit more round on the bottom and they're a little bit oblong. So I think something like that is pretty cute. So now I'm going to turn to the left side and just kinda make the back of the head. So I think it's something like this. Can you can't really see the back of their heads. But I think something like that will work. Okay, so now we can add another sphere and this will be the nose. So we'll just bring it up, shrink it. So we'll just work that in. Let's label this nose. Let's clone. And I'm going to bring this, let's label this Eyes. I'm actually going to bring it out. So I'm going to label this Eyes bottom. Even though I don't remember the accident, I think it matters. But the reason why I wanted to do that is because obviously we're going to use the Mirror for the eyes. So we can go ahead and just separate them and just kinda put them in a general position. We'll just elongate them a little bit. Eyes are pretty much gonna go like this. He looks kinda like Elmo now. Okay, so that's the Eyes we can actually connected. It's fine. Okay, so let's go ahead and hide the eyes for now. And let's go ahead and shape that knows. So let's look at the left side. We use move symmetries on. And let's go ahead and shape this nose. Okay? Let's validate it. Symmetry on. And just like the other nodes, make the move tool a bit smaller, we'll just kinda stretch it up a little bit. Something like that. That looks pretty good. I can bring the middle end. Remember we had to do this on the other one. So I'm just gonna do it now and just kinda thin it up in the middle. Something like that I think looks pretty good. And also we flattened out the front of the face. Remember that? So let's go to the head. Who actually we moved. We just use the Move tool. So symmetries on, we're just using move. I'm going to tap the left so that we can just remember we straighten this out. So I'm just going to hit move a little bit here. Flatten out that face. I bring the bottom out a little bit. Perfect. So something like that. Which is pretty much what we did before. Nose looks a little big Shrink that, bring it in a little bit more. All right, great. All the hats look pretty much the same, so I think we might be able to just steal the other hat. So let's just go ahead and do that. Now let's get a quick save. And let's find the hat. So we'll clone it, will bring it up, connected in there and we'll unhide it. Oh, that's so funny that it's sort of in this the right spot. Kind of It's a bit strange. Little odd, actually. But yeah, I guess we did them we did the regular Smurf, sort of the same way. So it kinda makes sense. I might want to redo this. I'm going to have to amend and have to redo the head at all. But he has a little bit of a different expression. So there is that we might have to redo this tourists. I'm gonna hide these bodies. Both of these for now. You can just concentrate on this one. Okay, so we might be able to take the hat and let's go to the scene. Let's see if we can separate. Now. We can separate these two sides. I think I'm going to get rid of this and just add a new tourists. I think that's how we did that. So we'll add a new tourists, will bring it up. Gizmo so that we can bring back the options. And then we can just use this green. Then Gizmo to just stretch it. I think that's how we did it. Now. We just want to place it. Shrink it a little bit. Okay. Yes, So pretty much like that. I want to try to place it with the hat instead of the head. Because the head we can move the character, we can move. I guess we can move that too, but okay, so that's good. I'm going to take the hat and just get it out of there so we can move this. I just want to move all this stuff. So it's like equal with him. Actually. I don't really think I need to. I think I'm going to keep the hat where it is. Mu we should move there. Instead. Maybe that's the easier option. Meet the head a little bit more. I wanted to come out a little bit more. So this tourists I think needs to be a little bit bigger. I think that's okay. I think that looks good. I'm going to validate the tourists. And remember we flattened it. I want to flatten the front. We can actually turn symmetry own. We'll flatten the front. Flattened sides will flatten the back. Let me get those nice planes again, underneath and on the sides. Okay? So now I'm just going to smooth this out, but it's a little soft. So let's, let's go here and multirate and sub-divide it once. So it shouldn't be so soft now here That's better. Hold that shape. Okay, That looks good. Happy with it. So let's ask some cylinders to make for the for the ears. Must time we got okay. A couple more minutes left? So we'll add cylinder. We use our gizmo to bring it up. Let's look at we'll do it on this side. So we'll do snap 90. We'll use this arrow to bring it over. Let's just position it so we can kinda get an idea of how big we want it. Have kinda be gears. A little bit more, little bit more. So maybe something like that I think is good. The ears are down pretty low. Something like that. Good. So now we'll just take we can I guess we can mirror it, it actually, we'll just hit Mirror Validate. So now we'll take the two. We want the Y yet we'll just do the Y-axis. We don't need the X, just the Y. Then we can use move symmetry. And now we're just going to shape it. Remember we made that sort of shaped like this. So we're just going to shape this ear to make it a little more eerie. Okay, I think that's pretty good. Now we'll take our mask again and we will hook. It's a little ugly-looking. So let's just voxel remeshing this like 150. Actually, that made it look worse. Let's subdivide it. Okay, that's better. So we subdivided it and now we'll make let's make it a little more. I don't want to get too close to the edges, the edge down here. But I think that's perfect. So now we'll just do, we'll go to our mass settings into invert, and then we'll do it gizmo. And now we can move that piece in. Oh no. Let's turn off. The symmetry is too long. I don't really want the symmetry on. Lets see if our gizmo, it was doing a weird, oh, let's invert. Mask. Invert. I'll do the gizmo. Okay, so the symmetry was on that Dessert. That was a little weird. Okay, so that we did that, That's perfect. Now we'll go back to our mask and we'll clear it. So now we'll take our gizmo and we'll just maneuver these a little bit into the face. We can get it off, snap, can rotate them out, bring them down a little bit. See they're very, very low. Maybe we maybe we even rotate them this way a little bit. Oh God, look at that. Whoops. That's okay. But I think that's, I think that's pretty good. I think that's not bad. Maybe rotate them out a little bit more. But I think that's pretty good. So now let's take round edge. Yeah, I think that's okay. Let's tap on the face now. And let's use inflate and we'll make those little inner thingies. But notice the direction I'm doing them. I'm doing it. So I'm doing one on the surface and then I'm doing one sort of behind it but like close to the close to his face. So something like that. Because when you smooth it, you're gonna lose a lot. I think I lost too much. Let's do Clay. Let's do inflate again. We'll do something like that. So let's sub-divide it. So we'll go here, sub-divide. So now we shouldn't lose so much. Okay, perfect. I'm going to take move on the year and just move them into the face a little bit more. The I'll move the whole things and a little bit, something like that. Okay, I think that's good. So let's take some cylinders and do those pieces for the eyes. But let's name these so we've got to make sure we keep everything set. So this is the ear Mirror. Actually, we can go ahead and validate this. So let's validate it. Joining Children. This is gonna be ears. Okay. Here's nose. Those are the, these are the eyes that we didn't do yet. So we'll go ahead and add those cylinders. Okay, so when we come back, we will go ahead and position these cylinders, will turn it and position them for the eye sockets like we did. But rocking and rolling. We're gonna get through this really quickly. It is much easier because we know all the tricks. All right, See you next video. 19. Quick Blocks: Okay, let's jump right back into it. So we're going to use snap, snap this forward. Like so. Can shrink it a bit, shrink it a bit. And they all pretty much have the same kind of things. We'll just have to edit his eyebrow a little differently. But that's okay. Let's stretch it and then lets you can kinda put it in position a little bit. Let's take it off of snap. I'll move this one over. You can go ahead and Mirror. Go back to the gizmo. And I think I had had them a little further apart because I wanted to Eyes little further apart. I just think it looked better. So even something like this. Bring it down a little bit more, maybe angle it back a little bit. I think that looks pretty good. So let's make sure that we just label this. Can this be eye sockets? And then we will, I think we didn't we have the eyes, the eyes. So let's go to the eyes and just fit them in so we'll make them flat. Probably should have. Actually, before we do that. Okay, So we have that. Let's go ahead and before we do that, let's go, let's clone the whole thing. So we're going to clone both of these. And let's rename this I whites, because that'll be the whites of the eyes. Let's rename this one P. For Pupils. We can hide those now. So we'll just back to go. We'll go back to Eyes weight. We'll tap on that. We can go ahead and validate it. Now. Now we can just work on these Eyes, will flatten them out. Further away, maybe a little smaller. Ahead and click. They can go down a little bit more. Maybe a little bit bigger. I think something like Who thinks something like that works? There might be a little big it could be a little little too big. Sink come back in there a little bit. And we just have to make sure make sure you rotate them so that there aren't there nicely on the surface. Kind of evenly all around. So I think that looks pretty good. So now we can take this, let's go ahead and validate these. And we can just take move and just adjust them a little bit. I just want to pull There we go. Pull it out some. Okay. I think that's good. So now we'll take P1, we can unhide those. We'll go to the go to this. We can validate. And let's just use our gizmo to make them smaller. That orange ring. And we'll flatten them a little bit, bring them down and we'll do something like this. We'll put them a little closer. I think that's good for now because we can always change change them up a bit later if we need to. Okay, so let's take a look at this. The head. So the Mouths, we're all a little bit different. So I think it's safe to, I think it's safe to do the ears to voxel 3D mesh, the eyebrows and the ears. And maybe even a nose. Yeah, Let's I think I made the ears a little bit too big. I think the ears are a little bit too big. So I'm gonna go to oh, that's right, we validated the ears. That's okay. So here's another little trick that we can do. I want to make the ears a little bit smaller. So I'm going to take trim with rectangle, which can cut one off. Then we're going to take this ear pivot, center pivot. And we will make it actually doesn't look doesn't look that small from this side. It's only from the, you know, why it doesn't really look that small from this side? If he's looking like this, it's actually fine. Crisis averted. Okay, good. So I'm gonna take, you know what, you know what we'll do. We'll take the head, the ears, and the nose, eye sockets. Let's validate the eye sockets. Validate the eye whites. And we'll validate P1. Actually, we won't validate P1 because we'll have to move those around. So let's take a, all of these. The head, the ears, the nose, the eye socket, the eye whites, and not the highlights, the sockets. So let's join those for the head, ears, nose, and eye sockets. So we'll just join those. And let's label it ahead. Okay, So now we have the I whites, I'm going to connect ahead. And P 11, I guess. Okay, So the good part about this is this is perfect. So now we can clone this and we can bring this up to body Mid. So now we have all of that done. So I'm gonna hide that. I'm going to take this again and clone it. And I'm going to bring it all the way up to body top. Okay, so now that's done. So now they both have the head and we can get to those when we get to those and tweak them from there. Okay. So now let's go ahead and make his legs and his eyes are up, so now he's separate from the other ones. So we can we make sure that we're on the right Eyes there we go. Eyes bottom. So his eyes are actually looking up. Something like this. His eyes are looking up. And let's give him some legs and we're gonna do the same exact thing. We're just going to use the tube Tool and can probably use path. We'll just do 123. So we'll do 123. So this is mirrored. Take it off Mirror. Oh, he must be in a mirror. I must have excellent. Put it in Amir. Let's take it out. Oh, the hat to almost forgot about that. Yeah, So we have the hat to, we'll, we'll clone that later. So let's just continue on the tube. Let's make this leg. Okay, so now these legs are very similar. They're actually pretty much the same. So what remember that we can clone this and we can actually do it all three times. So we can do one leg and just use it all three times. So this first leg is pretty much like this. It's a little make it a little thicker. So maybe around their bodies a little. Look in comparison. I'm not actually it looks okay. I'm going to raise it up a little bit. I'm gonna make his belly little bit. Just take out a little bit more. I'm going to take his leg and oops. Take it off of snap so we can go inside the body. And now I just wanted to look natural so we have to kinda just adjust it. So it looks like he's walking or stepping a little bit more. Maybe bring it a little bit more towards the back. I'm gonna, I'm gonna do a line so that I can just move it straight back. Okay, Good. Okay, so now we can use, Let's add a sphere. And this will be foot. So these are gizmo and we'll just move it over to the general foot area. And then we'll just mold our foot, squeeze it that way. So now we have to make it this sort of funny shape, that is foot is, I think we can go ahead and validate it and just use move. And we just want to have this sort of Almost like a hot dog bun. Not sure how it's to really explain it. We can turn symmetry on. And we'll just concentrate on making the shape. So it's sort of like goes up. There's a bend in the middle. And then each side is around the front and the back. And it looks like sort of running out of space there unfortunately. So I'm going to take all of this, take everything in the sphere, and just move it up a little bit. Okay? Okay, It's getting there. We're just going to continue to work it until it's all. It's nice and round glory. I think that looks pretty good. I think that looks pretty good. I'm going to position it up a little bit forward. I think that's good. I think that works. We can take the leg, go back to tube and we can just adjust it if we need to, maybe move it back a little bit. But ultimately I think this works out really well. We're bring this in a little bit more. So it goes right into his body. Like that. I think that's good. This leg is looking pretty good. So we have the leg and the foot. I'm going to nestle those. And this one is leg bottom. Let's make sure we save. This is like bottom. And let's go ahead and clonus and bring it up to body mid. And we can clone it again. Oh, let's go into body made and rename it. Leg mid. That would be don't get confused. So we'll take leg bottom, we'll clone it and let's rename it leg top, top. So now we can take this and put it into body top. And that will be our, that'll be our legs that we can adjust as we need to. But ultimately, I think this looks good. I want this a just a Farnsworth more round in the front. Okay. I think that's good. I think that's perfect. So now let's do the other leg. Alright, so let's clone them both. Gizmo will just bring them right over. I kinda want it to be reversed. So I'm going to go to symmetry. Local and flip objects. Did it flip? I don't think it flipped. Did not flip. Rearing right to left. It's not doing anything. Interesting. But that's okay. So let's take move. I'm just gonna make move really big and I'm just going to put another bend in it. Let's turn symmetry off. I'm gonna put a bend in it. It looks like the other foot. Yeah. I just want a little bend in it like that. I think that's perfect. So we'll take the leg and just adjust it, just make it work for this side. It isn't a little bit of a different position, so let's take this one and we can just rotate it, move it up a little bit. And then we can go to tube and we can adjust this tube that will go round the back in. Suggest it a little by little. So that it makes sense. Here we go. Just the foot is angled up a little bit more. Plenty to get a view for this as well. So maybe something like that I think is pretty good. So we're gonna go to View, add view. We'll name this Trio. For the Trio And then you can make just little minor adjustments as you need. As you can see there everything is a little far apart. Not really sure why that is. I think it's just a matter of taking that leg down and back. Move it over a little bit. I'm going to take this tube up. So let's go back to our Trio view. It looks okay. And then we can just kind of like bottom line, bottom. Oh, this is the other little confused. Now. Potty bottom. Turn those off for good. I think that's what that was. Yeah. She got to make sure that we were using the bottom all the stuff from the bottom. Everything still looks good. It's good. Or a Trio view could just be the foot, could just be the foot position. We'll turn it a little bit this way. Maybe up a little bit. Okay, I think that's pretty good. We can always adjust it a little more later if we need, but I think that's really good for now. Okay, so the arms are gonna be pretty simple. We'll just use a tube for this arm. Can use path and we don't need snap. So as Arms are going straight out like this, so we'll go one there right by his ears. You can hardly see his ears. So we'll just make two, maybe we'll make this a hard angle there. So we'll do something like this. I think I want them coming straight out where his ears are. Something like that. Then just use tube and we can just make it perfect. Okay. I think that's pretty good. I think that's pretty good. The only other thing that I wanted to do was slice the body. If I can get that done, then in the next video we can work on the hand to slice the body. Let's use split, or might not an orthographic. Oh, we should be an orthographic. I think I forgot to switch back a while ago. That's okay. No, no, not a big deal. It's just better to Sculpting orthographic. See, this is why we Sculpting orthographic. So I'll have to adjust this a little, a little later. So to make the cut in the belly, we want to use split. I like to use ellipse and amino start somewhere up here. I just want to make just something like this. I think that might be perfect. So something like that. Let's voxel remeshing each half at 01:50. So do the top half and the bottom half at 01:50 or so. And then we'll do a couple of round edge on each. Maybe 3123. Okay. We'll come back and we'll work on this hand, and then we'll work on the other arm and the other hand, we will keep this party going 20. Arms & Hands: Okay, So Hands, again, we're going to use the cylinder to start with. We use the gizmo to bring it all the way up so we can, this will be our work area. We can go ahead and bring those other spheres of two. If we add a sphere, can bring that up to. Okay, let's make sure we keep everything labeled so things don't get hand. I'm gonna take this the bottom and just put it down here for now. This will be, this will be finger. We can clone it, make it thumb. Ball. Is that will be the ball of the thumb. That's gonna be in this area. So we'll go back to the cylinder. That's gonna be the poem. Lets bring this out. It gets a little confusing when you have so many layers, things always get connected before I want them to be connected. So we'll go back to this cylinder and we'll name this. Okay, so for poem, Let's go ahead and validate it. Snap 90. So we're going to bring it forward. Remember we're looking at the front now. This is gonna be the palm of the hand. We're just going to make one hand should cover all of these fingers are slightly different, but I think easily adjustable. But I'm going to try to stick to just one hand. We'll clone it. And then we'll use it for all the other Hands as needed. So we're bringing this together. Let's make it a little bit bigger. Like so. Okay, so something like that. We can move this finger up. You can validate it. This finger up the way. So let's take this, let's turn on the green. So we want green and red symmetries. So we'll use move. I'm going to tap front, will turn on symmetry here. And we want to make that same shape that we did before. So we want to make something like this. Think that works. Okay, so something like this. And let's make the thumb here. This is actually a pretty good spot for the thumb. The Scene has a little thick, thin it out a little bit. And I'll send this out a little bit. Can validate the thumb ball2. I'm just going to use move and just kinda move this in the general area at this kinda comes off the palm a little bit like that. Then we have this finger. Remember we want to stretch it out. We don't want to use this red. We want to use the green. So we switched the symmetry. Okay? Looks like we're going to take a quick break here when that happens. So what I'm going to do to prevent it is go to my settings and to battery and then put it on low power mode. It shouldn't do that anymore on low-power mode. Okay, So we'll go back to Nomad Sculpt and back to our hand and make sure that this is in-focus. Okay, so I'm just gonna do some simple hands. This comes cleanly off and just makes it a little lump there. So I'm just going to continue to move it. So it's just sort of lined up with you can also, oops, you can also adjust that, but I would take Symmetry off if you just want to adjust the thumb side of it. Okay, so that's pretty good. Can move it a little more towards the front of the poem. This is gonna be the front of the poem. Okay? So now this finger we're going to stretch. We already put it to the vertical symmetry. You can see the green line. Now what we have to do is make it a little smaller. First, symmetry. Change this to vertex. Then we can stretch it like this. Take it off symmetry and just make it a little smaller. Let's look at the width with this pretty good. Length is pretty good. Okay, so now we can just make one. Oh, you know what, we should voxel remeshing this to, let's to quick save. And let's voxel remeshing this At 200 gizmo or pivot. Let's sit the pivot. I think we sit them at the bottom always. So let's hit the pivot there. Because this is finger, so it will clone this and move it over a bit. And then we'll clone it and move it over a bit. So he's got the three little sausage fingers here. Let's make the palm and the thumb a little bit bigger. The thumb ball up here by the palm. Make a little bit make them a little bit bigger this way. Okay, perfect. Can make them a little smaller. We can make the width to kinda make the, the fingers so that they're coming out of a central point. They're not like coming like a pitchfork. There. It's like it's, it's round and the fingers are sort of like coming out like this. That makes any sense. So let's take this little fumble and clone it. Let's just take off the ball. And let's move it. Here. He usually all the fingers are gonna be around here. Big. Okay. So something like that. Now we want it to be a little bit in front of hand. And I rotated a little, tick it off snap. I want to rotate a little bit this way. Here we go. So something like that, I think is perfect. Now let's take, let's actually cloned this, Let's try it this way. Let's clone it. And then with the clone, we can use the Move tool and make the actual thumb just move it into place. So the reason why I'm calling it, because I noticed when I did the last one to form the actual thumb piece a little bit too much. I liked doing it that way, but I don't want the thumb itself, the integrity of the thumb to be changed. That much. So something like this. I'm going to use drag and just try to I could just try to get it even with the other shapes. To get even with this. Can think that it looks good. That might still be a little bit too big. I can't really tell if it's just me are still might be let's take the thumb thumb. Make them a little bit smaller. Okay. I think that I can rock with that. The fingers. I'm going to bring this one a little bit. Move this one over a little bit, maybe tilt this is pretty good. This one we can kind of stretch a little bit, just the middle finger. I keep trying to tap on the other one. There we go. Okay. So something like that. I think that's a thing that's a fine looking hand. Yeah. Okay, baby. Okay, so let's do save hoops. So do Save. And then we can, Let's go ahead and how are the thumbs and all these ions are actually okay, maybe let's make this Hand, hand All this thumb sections I'm going to join. This is gonna be thumb. So we just joined all those pieces and we'll call it the thumb. And these are the fingers. So we can go ahead and connect these for now. And just connect all these to hand. You can call yours hand though. If you want. Let me be professional. Change this. Okay. So now everything is together. Okay, So this is the you can this is this will be his right hand. Is up his right hand, I believe. Yes. So this would be his right hand. I'm gonna clonus that way we have it locked in. So this is the hand. We have it locked in. Let's name this hand and zero. Now we go back to this hand and we can just move it into place. Moving into the general place, shrink it up, something like that. And we're going to assume that the other hand is pretty much doing the same thing, the other arm as well. So one thing that we did for the arm, Let's go back to the arm real quick. Is we, for the radius, we've made this side a little bit bigger. I think. Want to take this off. Actually looks, it looks okay like That. Looks better without the hard edge. So I'm gonna bring this a little more into the hand. Actually, let's move the hand a little much. The handle little better. Let's go to our view. Okay, so if this is our view, the hand, Let's turn it a little more this way. You can't see the thumb at all. So it's gonna be pretty much like that. Then the foot will go there. Okay, that's good. So we'll just make one side because we can always just, once we make this arm and get everything set, then we can just mirrored to the other side. Okay, so now body mid, body made head eyes. So there's gotta be some move this up and over. So we just have to find that body. I know I have it somewhere. That's oh, so somehow I must have moved this up. This must have moved up somehow. So I'm not sure why or how this is body made. I was right. It's just in this spot that I would want it to be. It's above this one. So I mean, that happens sometimes, but at least we found I found when I was looking for something to do pivot center, the pivot that would've helped me out. So that's body Mid. The other thing is now when I move body mid, oh good. It's not moving me. It's about moving anything. I think it's because I'm one vertex. If I was on automatic and group, it would move everything. But it helped because I was on vertex and I never changed it back. So that's actually good. So as long as you locate body MID, we just want to move that back into the proper place. So body mid, the belly is gonna be on the hat. Oops. So the belly is gonna be right on the hat. Like this. It's actually not that far, that far up. So it's probably about there. So now I'm going to head. Oops. It Eyes, legs mid. See, that's everything. If that's everything. But we don't want to move body made me want to keep the body where it is, just move everything else. So now we have this. You can sort of move this into position so the head would be on the top of the body. This is annoying, so I'm gonna move this out of the way. Potty top, just in the way. Exhale, even know why you're visible. Okay, so let's go back to this guy. Head to the foot. Now we're just moving this into place. Now that I'm looking at it So leaned back in the lecture a little longer to share, a little longer and they're a little more in front. I think that's okay. Let's move the body. Tilt the body back, and move it back. Okay, that's a little bit better. The man has a swish this hat Down a little further to. So that's also something that we can do to kinda make a little bit more room for that character on top, we can smashed his head down. And we can take this leg, sort of move that into place. Open it up a little bit. Okay. We can adjust the leg a little bit. So I think I'm going to adjust the leg. Then adjust the foot. Make sure I'm on the foot pivot, center. Pivot. So now I'm just going to adjust the foot so that it's in more of a correct place. According to the leg. Stretch it out a little bit more. Smurfs seems to have long feet. I'm going to go back to the leg and open it up. So it's essentially just going to be just making it work now. Making it work with the space. Opened up a little bit. Okay, I think that actually works. So now I'm going to take the hand. Let's see if the, if I take the hand, the whole hand, nothing but the hand. So now we can move this hand in a better position. Can just kinda leave it there. So if we look left, it looks pretty good. Obviously, this is way too far back. So we'll just take Let's see, body MID. We don't want the legs and the feet. So we'll take everything else and we'll do suggest it so that it's better. So maybe something like that. Yeah, I think that looks pretty good. So we've got that. We can always we can always adjust the ears so that's not a problem. We just want to kinda get everything sorted, set. Make sure you go to your view and just make sure it's not too crazy. We can still adjust the head and bring it forward, things like that. So next I think we'll copy this hand and we'll, we'll, we'll copy the arm. The hand will move that up. Then we'll start doing the top one and little by little. And then eventually we can voxel merge these guys together once they feel a little bit more stable. Because also we might be able to just move the whole thing, tip the whole thing forward to. So there's a lot of options. We're just going to continue to block these in a little bit faster pace. Alright, so yeah, the next video is we're just going to continue doing more of the blocking of our Trio 21. More Trio Blocking: So let's bring the hand. We can bring the hand and the arm up. So we'll go ahead and let's see. Okay, here's the bottom. See, where's the arm? Where the arm went, but here's the hand. So we can go ahead and clone this. And let's, let's name this Hand. In middle. Hand, middle lets move up to the middle area. So body mass, I'm gonna put underneath, but I don't want to really connect it. I'm trying not to connect. Let's connect it down here. There you go. I just want to put it on its own thing under body Mid. But I just didn't want to connect it to body mid. Don't want to connect it yet because I don't want I just want it to be separate for now. Hand, middle, body, Mid. I'm just going to collapse these. So we can find that arm, which I don't see too. Oh, there it is. So somehow I must have put it in the leg. So that's the only That's the other thing is it's so easy for these things to get lost. And we really have to be diligent with naming things. Arm bottom. So we're gonna take our and bottom and just bring it out and then we can clone it. I'm not sure why it does that. It's just when it has a lot of things that resets but you can't see it. So that's a bit annoying. So arm middle. So just rename it arm middle and then bring it up to the middle area. We'll bring it up here. Okay, good, good, good. So now we can take Hand middle and our middle and move them up. We can kinda just move them in the general, the general area here. Okay? So what I wanna do is I want to take so body bottom. So what the whole body bottom, not the legs. Excuse me. So we can take the hand we can take arm bottom. I just want everything from the bottom. Let's make sure that this is everything up. We're missing the body part. So we'll get that too. Is that everything? Yeah. Okay. So I just wanted to take the bottom Smurf. So just select all the bottom Smurf and then the middle Smurf as well. So body mid handmade and our mid osha to the legs as well. I'm gonna do these legs to, for the bottom one, even though they're hidden. I'm still gonna do the legs. I'm just kinda tilt it. Let's go to pivot and bring the pivot down to the bottom of the foot. Then hit pivot again. I'm just going to pivot this forward like that. So I think that'll help us out a lot with the balance in helping it look a bit, a bit better. Okay, I think that's good. Then the other one's gonna be leaning forward. So that'll sort of balance this out. And there's also things we can do, like we can take the body here, Hand, middle or middle. And let's just see. So I expanded body mid and we're just going to take everything except for the leg and foot. I think we can leave that where it is. Let's do pivot and move the pivot down to the bottom. Maybe right where it touches the hat. Hit pivot again. And then we can move this forward a bit too. Okay. I think that seems pretty good. It's actually might be okay even without it, to be honest with you. But either way, you just have to make it look right. But it's a good habit to get into organizing your, the pieces so you can select them all. So I'm going to actually do that. Do that now. So for example, our middle, okay, that's in the right spot. Let's just collapse everything. So we can see this is Hand bottom, so I'm going to rename this Hand bottom. So essentially just go through and click things and just make sure that we know what it is. So I'm going to rename this Hand backup. We don't get it confused. And I'm going to move it down. I'm just going to move it away from everything. Okay? Now we just have a random sphere here, which I think I'm just going to delete because I don't know what that's four. So we have leg leg. These look great. So these are part of the bottom. And we can actually add those two. Body bottom. I'm going to take this leg and add it to body bottom. Okay. Our middle finger, hand, middle. Okay. Good. So we can again, we can adjust the hands and stuff as we move forward. The hat I need to have, rascal need to have. So if there's no hat for body middle, then we'll just take it from here. Let's find the hat. We found the hat. Let's clone that. This one will be Hat bottom. Okay, so that's Hat bottom. We can collapse that this will be Hat middle pyramid. So this one's hat mid. So we're going to bring this up and we'll put it right under arm, middle because we can unhide these legs. Okay. Alright, so everything was looking pretty good. So now let's take that hat that we just brought hat mid. And this hat has to go on his or her head as well. We'll bring it down. Maybe something like this. It looks pretty good. So now that we have the hat there, I think we can do the top body. Let's find that body top. There it is. We're still in vertex. Unhide it. So let's take it off of a line. If you're a sauna line, I think we're going to stretch this body and I'm actually going to move it. So this is like just kinda like an a different angle than we have here. I'm just going to straighten it out because his back isn't really that curved in this one. Sort of just forward. When you give them a little bit more on the front side. So it might be just something like that. Now this body has to go, I'm going to put it back to a line and hit left. Okay. So the spot he has to go probably around here. Seems like I think that feels about right. So we need another head. So let's undo all of this and lets actually copy hat mid. Let's clone that now. And we'll make this hat top. So now we'll take that and move it all the way up. And we'll Nestle it under the head. He top. I'm just gonna read the name of this head. Top, body, top, whites top. Anything else that might be confusing? Foot the top. Okay, So let's I just made visible, oops, everything on the top part now. So we can kinda see what we're doing Okay, So body top is already up there. So we'll take head, this one, P2, whatever that is, Eyes bought, ice bottom. Now this should be Eyes top. That can be confusing. Hopefully that's correct. So let's take everything except for body top because body type is all though, is already up there. So all these top pieces just want to bring up, you know what, I did the wrong hat. I did the wrong hat. I'm going to take this hat, delete it and I want to, I want to copy it from the bottom hand from body bottom. So I want to clone this one and make that had taught. That way. It'll, it'll already be on the head. Now we'll take this one and move it up where the other one was. Head Top Hat top. Okay, So now let's try that again. We'll select everything having to do with the top except for the body. The body is already there. So now let's move this. What's up? It's perfect. So it's moving everything except for the body. Will move it back to general spot. Will move it back to the general spot. And let's take the head and move it forward. So we have head, head Top Hat one tourists, that's the hat brim. I'm just going to rename it at brim top. Are these the Pupils? Those are the Pupils. Just going to rename this Pupils. Taught me rename this Pupils top as well. But there are also Eyes, Eyes Wide, top. Okay, so it's right above that. Okay, cool. Alright, so now that will take everything connected to the head. And we should be able to just move this forward. Like so. Maybe it's looking a little bit more downwards. Like that. We can go in and move these Pupils really quick. Pivot, center pivot. We'll move these down. These little details we can do later, but that's okay. So we'll move those down looking pretty good. So the only thing we might be able to move, I'm not sure what I guess it looks I guess it's going to look a little bit more balanced with the arms. So let's, let's make sure we bring the arms and stuff up to body top. I don't think we copied the arms. So let's let's see. I guess these aren't, these arms and Hands are a little different. So let's just take lets go to, I think we want to take the bottom one. Let's find the hand and stuff on the bottom. So there we go. Hand, bottom, arm, bottom. Let's Nestle the arm. So now we'll take this clone it. And we'll rename this one. Hand arm top. I'm going to rename this too because I'll forget where I put the arm and arm bottom. So let's take Hand hand, arm top. We'll move that up to the top one. Leg top. I'll put it right underneath for I guess I'm going to connect it. That's fine. We're going to take hand Arne and move it up. We're still in vertex. So I can move it straight up because again, we're in a line. I guess doesn't matter, but a line does make it easy. Sometimes. We'll move the base of the arm essentially to where it would go, which is like right under his chin. So it'd be like right there. Let's move the pivot point. Actually, let's not move the pivot point. Let's move the hand first, since it's hard to select. So I'm gonna go to Hand I want to take everything except for the arm bottom. I'm just going to put this generally in the position in space. And it's right by his nose. Go left. There we go. So we want it down by his nose. Something like that. Open up their wrist towards the arm. So now we'll just go to this arm and we can go back to tube because we didn't validate. And we can straighten out this arm. So Arms pretty straight. Okay. That's pretty good. But we want to make it under the chin, pinch more straight under the chin. Like so. Let's check the length of the arm. Length of the arm is good. So now we can take the hand and we can Let's take that off. So I'm just making sure that I'm selecting the whole hand. Now we can move it into place again. But according to the arm, or in conjunction with, I should say, the arm. Sometimes nice to use big fancy terms when you're making Smurfs on an iPad. Okay, So that looks pretty good. The hand back a little bit. Let's take a look at the Trio view. Okay, Trio view looks good. And from the Trio view, we can also adjust it. So we're just seeing more of the back of the hand. But what I want to get it away from the face a little bit. Okay. So I think that seems right. Okay, so I want to take a look at the other view as well. Let's do a Save. I don't think I've saved in awhile. So we'll do a Save. I just want to check it with the other views. Okay? So we're going to have to, okay. This is looking pretty good. I'm happy with this. We can, lets see. Hats don't really have to be separated. This hat and this hat don't really have to be separated anymore. Okay, So this is pretty good. I think this was a good place. Let's just adjust this little his little leg for now. Make it a little bit bigger. I want to take this foot pivot, center pivot and move it down closer to where it's going to be, which is around they're pretty much in his hand. But we can move the hand up a bit. So it looks like it would be right in this area. So we'll take the leg and tube. Actually we can use the gizmo first and just print like top. Trip. Put this back to vertex, autism vertex. Oh, maybe it's not going to work. You bought monkey. That's okay. We'll use the tube Tool and we'll just bring the tube down, move the leg up and into the body. Just move it down like that. We can move as little bud up to. So I'm just using move symmetries on and I'm just going to move as little, but This hat, I'm going to move that to so that the head is kinda smushed, smushed down. Excuse me. Can take this body, move it down as well. Then let's go back to this leg. And these are all just fine adjustments that you are going to have to do. I'm just just as you go. I walk contact with the hat and everything else. We can bring this part out a little bit. Okay. I think that's good. Okay, I think that's good. For this. The balance looks pretty good. I think we're doing well. The only thing else was in the next one, we're bring the head down and we'll just continue to tweak and work on our Trio 22. Final Trio Blocking: Okay, 22, final blocking the cell trio. So again, I don't think I'm going to, I don't think we want to block on the other side because I think we can just Mirror. We can just do one side and Mirror. It looks like all the hands are in the same place except for this one, except for this hand. So since that hand is not there, lets take these Hand middle and our middle. So let's clone. Let's make sure we move arm, arm little up to there. I'm going to unnecessarily with Hand middle. So this would be the new version. So if I'm looking at the front here, our middle, okay, I'm going to necessarily as well. So this is a bit annoying. I just hid the regular hand, the one that's going to remain on this side. So this would be Hand our middle. This one is gonna be Hand L middle. Because this is gonna be the left hand. So we hit the one that we're going to keep. This is the clone. We're going to start with this top view here. So we go to symmetry. And actually we can turn the y-axis off. I can't remember why I had that on probably to edit this hand. But I think we can just do mirroring right to left. So hopefully that works. So we just hit right to left. And then yes. Okay, That's good. So now let's just go down and do right-to-left. Okay, so let's go back to the thumb world. You were right to left. There we go. So we do finger world Mirror right to left. The finger went all the way down there. So I'm going to undo. This is why we turn off this axis and back to this axis. Little tricky. So remember we're on the finger. Make sure that the symmetry is just X world. And then Mirror right to left. There we go. Finger ex, turn that one off world Mirror right-to-left. Why did this did show up? I got nervous again. Go back to this finger. X-axis world, your right to left. There we go. So the arm, actually it, actually we can just we can just move the arm with the gizmo. So I'm gonna hit front and then I'm hit a line so I can just move it straight over. Oh, you know what it did? So even though even though this is all hidden, I think when it mirrored it, just it kept the other one there. But that's okay. So since it did that, That's alright. We'll just go to trim. I thought it wasn't orthographic. I don't know how I keep switching back to perspective by accident. I really want to be an orthographic. So we're in trim and which set to go back and trim all the stuff on the left. So remember, the right hand, the one that we want to keep is hidden. So we're not, we're not messing with any of that. We're just going to do each one. Maybe we can take Let's see if we can take them all. I know I can't trim. It has to be one-by-one. So I'll just trim using the rectangle. Go down. Trim. Tab that one. Trim. Tap that one. Trim. Okay, that's perfect. So let's go back to this arm now. So this arm is sort of balancing. I want to go to my Trio view. There has to be reason that it keeps switching to perspective. I got to figure that out. That's very odd. Extremely odd. Okay, so this arm is straight out. So we'll connect this to the body, will make the arm shorter course. Connect that to the body. Back a little bit. Careful not to make the arm too long. So I think something like that. And then we can take the hand, but not the arm. I'm going to disconnect the arm for now Then we'll take left arm. I'm just labeling this so we don't get confused. Left arm, middle. So we'll take the hand and we'll just reposition it. So we'll turn it around and find it. It's home. She looks pretty good. It actually looks almost perfect. This up smudge. Let's take a look at our Trio view. Trio view looks okay. The only thing is let's see how it looks out still in perspective again. Okay, You know what, I'm gonna figure this out. We're going to figure this out together. Okay, update pivot. Still orthographic. Seems like anytime I select something, I'm trying to figure out the moment that it starts switching. I think this hand needs to be out here. Oh, you know what it is? I wonder if I hit Trio. It's going to perspective. That's what it is. So I'm going to switch to orthographic and update this. That's what it was. So I must have when I went to one of these other ones, these are both orthographic. Okay, so that's what it was. I kept hitting trio and it would switch to perspective. Okay. So now we want to just put this hand a little more like this. Maybe bend it forward a little bit. Okay, we just want to match this where it is in space. It's not going to be exact, exactly perfect, but we can do our best. I think that's pretty good. So now I'm just going to take this. I'm going to move the pivot. Let's take it off with a line. I'm going to move the pivot to the base of the arm. Hit pivot again. So then when I rotate it, the base of the arm will pretty much stay in the same spot. Who go. So something like that. Or they can just go be in a rascal behind me. Okay, so now we can unhide the other one. Okay, that's great. So these are pretty good. I want to make the those are the feet are a little small, but that's okay. We can do that in the next video, we can make adjustments. We just want to worry about this Blocking for now. Hat brim and had, had top this back. Okay, so maybe something like this. I think that works. And maybe I want to move the head up a little bit, tilted a little bit. So let's take the head. Pupils are all of that stuff. Everything's connected. I'm going to hit a line so I can just move it straightforward. And let's look at our Trio view. I think we need to update our Trio view. So let's add a new one view when they miss one Trio for an orthographic. Okay, good. So at least now we can see the top one as well. Okay, So it looks good. We don't really have to turn I thought we might have to turn the head a little bit. Sometimes it's nice to play things to camera. For example, like opposed to just turn his head a little bit more so you can see a little bit more of his eyes. But I only think he needs it that much. Maybe just maybe just a smudge. Maybe just a smudge. But I think I want to move him up a little bit. So if I take the head body top, think I just want to move The arms versus Arms. Oh, there they are. So that it's all this stuff here. Hand, arm top. This should be everything. Where is this arm? Arm top? Seal? These things get really annoying. Where's the hand top? It's in there? Why wouldn't it select it? Maybe we go back to auto. So now let's select everything else except for the legs. I don't think we want the legs. Hopefully everything will move this time. Yes. But we didn't want the legs. Let's go back to vertex. There we go. Now we're cooking. That's what I wanted. Maybe even bend him down even even a little bit more. Move them up a little bit. Okay. I think that feels a bit better. We can take this leg and use tube and just adjust as we need. I like it. I like it. Excuse me. This town it looks smidge. Okay. Alright. This looks good. Something is bugging me about how close the arm is. I think I need to open up the arm a little bit. Hand, arm top. It's the body. I'm just going to open it up. That feels feels a bit better. I'm going to take the hand, not the arm. Is moving on it, on the move it up a little bit. There we go. Okay, so now let's, let's, let's put in there little tails. I'm pretty happy with this. So let's just put in there little tails. Or we could use that sphere, that random sphere body. Oh, you know it, before we do that, actually does matter. We can put those two, we can put the tails. And so let's do add sphere. Let's call this tail. Tail Trio. This one will be bottom. So bottom till Trio. We're just going to validate it. Then I'm going to clone it on it again, I guess. So then we'll go to Name and we'll just name them, their perspective funds. So this can be top. This one can be middle. Whoops. It'll tell. Lets bring middle tail into the middle body section. So we'll just kinda snuggle it right here. Maybe. We'll take the bottom tail can be smuggled into the body bottom. And the top tail. You can take this and Nestle with the top body, Party top. And let's do a quick safe. So we're using top tail Trio. I can see. So I'll just bring this. That's the worst. That's how you lose your symmetry when you're trying to just use the arrows. But all this other stuff on the gizmo gets in the way. That's one of my pet peeves. I wish you could just lock just the position because you'd be trying to move something and then it'll turn and you don't notice it. But if you do that, the symmetry is gone. Now that we need it here. But just in general, that's why, that's how you lose your symmetry, is because of this gizmo will move this little tail or I guess has to be a little bit bigger. Maybe stretched a little bit. Okay. So I think something like that is good. Move it in a little bit more. So this one is middle tail. So we'll move that to the middle. Approach should have shrunk them all first because it just made one tail and then just moved it along. Okay, so we have the middle one and shrink it a little bit more. And this one should be the bottom one. I can ever select it. Here we go. Now we already trimmed the body on the bottom one, so we have to make sure that it's below that trim line reps. So maybe something like that. I think works. Squash this a little bit too inserted, just angle it up a little bit. Feels, feels right. Squash it a little bit and then angle it up a little bit. Just feels right. Okay, we'll do a quick save. Okay, so that's pretty good for the Blocking. Few minutes left in this video. So maybe we can trim these. So we'll look at the top view. Let's go to this top body and solo it. Actually cancel it because we have to make room for the the legs with to make sure we're in the right spot. Okay, So let's take split. Remember we're just on this top body will take split, we'll use ellipse. We're going to start somewhere up here. I don't have circle. So hopefully we can just make this and make it a nice clean cut. So maybe something like that. Just has to be above his leg. That looks okay. But I think I want the line to be the opposite way. So maybe on the side is better. Let's try this way. Yeah, I think that's I think that's better. Something like this. That's better. So that's a nice, That's a nice coat. We'll take this body now and we have to do the same thing and that actually worked. So I'm going to turn it to the side like this. Use my ellipse. It looks like a good cut, so that's good. Now I'm gonna do a quick save. Now I'm going to voxel remeshing each piece. So voxel 3D mesh around. We'll do like 175 or so. Let's do three round edges to three, excuse me. So we'll take the bottom part. Voxel 3D mesh 175, rounded edge 123. Same thing for this body. Voxel 3D mesh 175, round edge 123. And then the bottom. Taking everything in my power not to repeat the same words over and over again. It's good. Let's plot this. This Hand really quick. But not the arm, just the hand. Okay. Yeah, I think I think we're good with the Blocking, so next we'll just I think we just need to do the details. We need to start remeshing. And but yeah, we're making some great progress. Next video, we're just going to clean, clean this up a little bit, maybe make Adjustments. And then we can start voxel remeshing and mirroring the arms and stuff like that. But the bulk of it is pretty much done. We're we're very close now. We've made great progress, great job 23. Trio Adjustments: Let's get busy with some of these Hands. Really need to work these hands out. I think we voxel remeshing everything, makes sure that you're saving over and over and over again. Make sure you save because we're a bit high The Scene vertices. But as it is also because we have been a lot of these extra pieces. Alright, so let's go ahead and adjust these fingers a little bit so they look more like they're holding. We're just gonna we're just going to put a little bend in. So nothing too crazy. We'll just take each one together and now they're separate. So I'm gonna push. Actually we might be able to use symmetry. Let's see if the symmetry is still together. I don't see it local. Okay, yeah, so we're not going to worry about symmetry because I don't see it at all. So we use the Move tool and we're just going to push and pull these fingers. So they have a nice bend in them like this. So that's good. Then we're gonna go and then we're gonna move it. So let's go to pivot, center pivot. We'll move it back down. Or backends in space where it should be. You can actually move the pivot to the base, taken off of a line. So I'm just moving the pivot so it's like kind of lined up with the finger at the base. So then when I move it, it's just gonna be moving at the base. Shrink it a little bit because it's the pinky. Okay, I think that's good. So now we're just going to move down the line and just adjust these little fingers. Center pivot. Looks good. This one is a little bit more bent. So we can do the same thing. We can move it a little bit briefly, want to bend it a little bit more. You can also take like select Mask and lasso. And you can lasso part of it. Use your Gizmo. Change the pivot on the gizmo to hear hip pivot again and then you can bend it a little bit. If you want to do that. Then just clear your mask. Then you have a finger that's a little bit more bent. So I don't know where the gizmo ways pivot center pivot. There we go. So I'll just move it up like this. Maybe on an angle it out a little bit. Move it up a little more, just so it's lined up with Hand. I think that's good. You can kinda just fine tune these as you need. But I'm just gonna kinda fine tune them really quickly because I think we're in a good spot. We don't really need to do too much. Okay, So as for the hand, I'm gonna do round edge once, twice, three times a lady. So then I'll take Move and see if the symmetries there on the Hand tool symmetry is all weird. So that's okay. We're just gonna, I'm gonna put the hand up a little bit. Maybe pushed from the side, pull up from this side. Just make it nice and round. And then just move it back. Pivot, center pivot. And I wanted to just move it straight. So I will just change the pivot a little bit just so I can move it straight back. Like so. K, That looks good. So now just suggest the thumb as well. Just use your Gizmo pivots, center pivot. We'll just use the gizmo. And I really want this to want it to be something like that. Maybe it will shrink it a little bit. It looks a little big. I can move it back a little bit more. So there we go. So that's a little bit better. You can experiment with rotating. It. Could also use move. Actually, we don't want to use move yet because it's still a bit it's still separated. But I think this is good. I feel like I do feel like the thumb is a little bit low. Lift that up there and it just looks a little bit too big still. Okay. So I think they can work. If you're going to move, remember it just moves. It will just move the individual shapes So just keep that in mind. If you want to move it and make it a little more perfect, which you know, I always want to do. Okay, so that's good. The arm looks good. You can put it a little bit higher. You can adjust it however you need. But I think that looks good. The only thing that I wanna do is let's validate this. And then lets me use flattened and just flatten this out so it's a little more flush with the hand. So something like that. So now I'm gonna hit Save. Anytime I do a bunch of work, I hit Save. So now we can, I'm just going to adjust this a little bit. Make it a little bit smaller for the pinky. Okay? Alright, Good. Well I'm gonna, I'm gonna adjust this to just a little bit more in line with the column. Okay, there we go. So now we can take all of this, this whole arm and we can voxel remeshing everything together. I'm going to hit Save again because I made some, some changes. Now, Hand all of that we can voxel remeshing together. So let's do that at 200 and see what it looks like. Okay, it looks good. I think all of these squares we can just smooth out. We could go back and sub-divide it, but at this point, we're just going to keep it trucking. And on the next one we're we'll know that we have to sub-divide the arm piece. It's a little funny. It looks a little funny there. But I think it's okay. So now we just want to smooth this out and make it a nice smooth cartoon hand. If we need about, if we need to voxel remeshing lower than we'll do that. But I think it's okay for now. I'm going to use move and just adjust this a little bit. Go. It was just sticking out a little bit too much. So just smooth up everything and then it should, should eventually look like a nice, clean, simple, cartoony hand. If you don't like these little, these creases, you can flatten them out as well. It's too crazy, can just flatten it and then just smooth. Make it a little, a little bit more of a round. Look. Same thing with here. I get a little bit of something, just flattened it out. Smooth. It looks great. Okay, so now we can jump to this leg, which I think it looks pretty good. Let's voxel 3D mesh. This head will take the head, does everything but we don't want the eyes and stuff like that. So we need to be mindful of that. Just want the head and the ears. Where are the ears? Oh, you know what? I think I joined them. I joined everything. Perfect. So we can just take the head. I'll do a quick Save before I voxel remeshing at 200. We'll do about, we'll do about 02:15. And then we'll just smooth. Our ears. Probably could use symmetry. In turn, symmetry on, I think everything is pretty much symmetrical. So we'll just smooth these parts out. Get everything nice and soft and round. Okay. So the ears are bit in the way. I think we can just kinda squeezed the ears back towards the face a little bit. Then we can take this foot and we can use move when we don't need symmetry. And we can really see what I'm doing. We need to just push it out of the way. There we go. You just want to just push it out of the way a little bit so it looks like it's okay if it's smushed up against his ear. I'm okay with that. But it just needs to really look like it's being smashed up against the ear. So I might move the whole thing over. And then take this leg and move that over as well. So I think that's a more okay with that. Then we can take move and just adjust the ears as you need. Maybe drag is better. We don't want to really move the whole head. So we can just use drag like that. You can even flatten the ears a little flattened, smaller. You can flatten the ears a little bit. So it kinda looks like there's some pressure from the feet on the ears. So something like that. Just so we're gonna look like they're smushed between the ears. That's fine. That's enough for me. I'm okay with that contact. We just have to remember that. All the fingers and stuff. So I'm going to push, I'm going to use Move. And kinda pushing here where we drag is better. Just push in where that thumb is. So it's kinda nice to just makes it look like there's some pressure there from the thumb. So let's take this arm and arm bottom. Let's clone. It. Will go into our symmetry world. Should we have the right we don't need why? Turned off and then flip object. Now we'll take this leg. This leg is pretty good. I think I'm happy with it. Once you're happy with it, we can validate it. Then we can merge it with the foot. If you want to still get crazy, you can do things like inflate and you can make that little thing that we made before. Smooth it out. Let's voxel remeshing the foot. Like 200. Now this should be much easier to do. Make sure Ron and fleet like so, then we can smooth it out. Just get that little bit of wherever you want to call it. Are we gonna do some around this side too. So let's do inflate. Make sure we get this side to smooth it out. Get it nice and smooth. And then we can voxel 3D mesh as voxel remeshing this to actually you know what before we voxel remeshing. Take these to join them together. So this is the leg mid clone. Symmetry. Make sure that we only have the X world flip object. Good, perfect. Love it. So let's take this piece, enjoying it to the legs. So both of these legs, we'll take this piece and we'll join them together. Like that. Lets bring this up to body mid split. So there's that, there's that good. So we can actually voxel remeshing this bottom part. Lets save. So we'll take this whole bottom part, not the tail. And we will voxel remeshing this now altogether. So we'll voxel remeshing. I'm going to voxel 3D mesh around 300. What we should have undo. So let's separate this, let's take this leg and let's sub-divide it. So we'll go here. Multirate is sub-divide twice. Take the other leg here, sub-divide twice. Now let's take all of these and we should be able to just voxel remeshing altogether around where we had 300. Remeshing. We shouldn't get such hard lines. Perfect. So that's good. Smooth, a bit. Smooth up here, symmetry has gone, so don't worry about that. Just be careful when you smooth up near this. You don't want to pull this line. You don't want to pull this down too much. See that? So he just wanted to be careful towards the top. Just go very gingerly towards the top to smooth that together. Same thing on this side. Everything else should be good. This a little bit Okay, Good. Okay. So those legs so yeah, this bottom half looks good. So let's take this bottom half. And these VDS, which I feel like are a little small, maybe they're just not long enough. I'm gonna take this leg and just put it down a little bit more. Trio view. Yeah, This needs to be, it's turned a little too much, so I'm going to turn it little bit and I also want to make it longer. So I'm just going to just the pivot like that. So then I can just stretch it long ways. I think I want to put a little bit more of a bend in it. Okay, cool. So now let's validate this. Validate this. So we validated our legs, but remember, we're gonna go ahead and sub-divide twice. So we'll take this leg, sub-divide twice. Phi are good. I think the feeder good. I don't think we have to worry about that. So let me hit this bottom half. So let's do a quick save. And now we can take body, bottom, leg, bottom foot, leg, bottom, foot. So all of that we can voxel 3D mesh together. So we'll go here. Voxel remeshing it, 300. Do we want to do? I'm just gonna remeshing it first. Then we can smooth all of this. Probably could've flatten that bit out before I box where you meshed it. But that's okay. Just a little flatten. It goes along way. Actually, it's annoying me. So I'm going to go here and smooth this first. So they don't want to worry about that. Now we take the body, bottom leg, foot, leg, foot, voxel remeshing it, 300. See, you can go fast, but it can only go so fast. As in the end. You don't want to go fast and then you sacrifice things that you're looking at it all rendered. You render it out. Everything looks nice and you're looking at it and all you can see is like, I wish I would've flatten this part. I wish I would've hit undo once and changed one thing. We don't want that. Okay, Really gingerly at the top. Okay, I can see some ripples here so you can make smooth, really big and just get rid of those. And this was because we probably could have subdivided the feet as well. That's why that's happening. But that's okay. But is looking good. I can't tell if those are ripples are just the screen. Probably just the screen. Okay, good. Let's save. Alright, good. So we'll come back and we'll do some more Trio voxel remeshing. Save 24. Trio Adjustments & Remeshing: Okay, So let's continue voxel remeshing. We're gonna do these, these hands now. So these fingers will just have to arch them a little bit. They look very similar to the other one. Actually, I'll do select Mask and lasso. And it was actually not bad just bending them. So I'm going to lets move the pivot here. Then we can just bend them a little bit. I think that worked nicely. Move them up a little bit. So we'll do select Mask. Move to pivot. Okay? We want to make sure that the top is at least smooth like that. So I'm moving it up. I need to do the same thing with this one. Just move it up so that top one is not like a huge divot. I think this one is okay. Maybe we'll just make it a little smaller. Pivot, center pivot anytime I don't see the gizmo. Okay, so let's clear these masks. We can actually just smooth these. First before we even voxel 3D mesh, which is smooth out these fingers. Got these little sausage fingers. This we can do rounded edge a couple of times. To get that nice and round. We'll take move and then put our bend in it, like we always do. So we'll pull that up. Pull it up, nice and good. Push, maybe on this side. K, go back to your Gizmo pivots center pivot, since the gizmo likes to just go wherever it wants to go. Oh, let's do that. Ally line doesn't help. So let's set the pivot. So let's tap on pivot and let's move it so we can just move it straight in. So backoff pivot, we'll move this down. We'll find a nice spot for it. I think that's good. We need to bend it a little bit more. I think that's good. I think we can adjust these fingers to be a little bit more in the right spot. So it's tricky. Trying to do this. K, That looks good. I would like to bend all these fingers at the base. I can select them. Pivot center. Then I'm just gonna move it down to the base of the finger. Here we go. And won't bend it forward. Align it up a little bit. Something like this. Then this one pivot center. And then we'll move this towards the base. We can take it off of a line but only needed to be aligned. We'll just bring it to the base tap pivot and then move it forward. Maybe open it up, maybe tilted a little bit that way. Back a little bit. Move this over this over until this one way more. Okay, we'll take a quick look. Now this is the pinkie, so this one can be a little bit smaller. So maybe it's something like that, I think is better. Take your time with it. This is not easy stuff. This is very intricate. Even for me. It takes me a long time to really get them in the right position. But this is when you want to do this tricky stuff. You want to do it now. Okay, I think that looks good. Did a lot of changes with the thumb before. So we're going to have to do those again. Pivot center, maybe bring this to the hands. Okay. You can kinda move it wherever it's easiest for you. But I think I just need to do that. I don't think I wanna make them a little smaller again. But I think that works for me. So I'm gonna take move and just kinda move this sphere. So it's just a little more to flush with everything. Okay, I think that's good. That's good. So we'll take this arm, will validate it, and can move it married up to the hand. We want. Maybe we'll make move smaller and push this time. So we don't run into that problem we had before. Okay, I think that's good. You can use drag and pull up on the bottom part of the Hand tool a little bit. Kinda get it even. There we go. So I think that's good. So now I'm gonna hit Save. And I'm going to voxel remeshing this hand because I think it looks good. I don't think we need any issues. I don't think we have any issues with the foot. I think that's working well. These ears, Let's move the ears even before we box Remeshing the head, that will that'll help us out. Actually, you should have done that on the bottom one. Maybe even, maybe even put them down or maybe even move them down a little bit. So you can see a little bit more of them at the back. Maybe we want symmetry. Here we go. I think that's alright. I'm gonna take this foot and I'm going to lower it a little bit and move it away. Maybe even just turn it slightly. Okay, I think that's good. Now we can extend this. I think that's good. So let's voxel remeshing all of this stuff together. I want to move this thumb. I'm going to smooth that part of the thumb a little bit. Okay. So let's voxel remeshing the thumb, the fingers, the palm, arm, middle. I think that's all. Great. Do a quick save and then voxel remeshing. I think we'll do 200. Oh, I forgot the arm. Got to sub-divide the arm. Sub-divide that twice. Everything else should be good. And I think that's everything. Will voxel remeshing had 200. Okay, much, much better. So now we can smooth. Smooth this thumb. It's nice that when you smooth it kinda takes a little bit of mass away as well. So it's actually okay that the fingers are a little big or at least the thumb. Okay. Great. Okay. So this all looks good. I'm going to take this foot and just stretch the backyard a little bit more. Okay. So let's validate this leg. Let's go ahead and sub-divide it twice. The foot. Let's subdivide once. So we don't run into that same issue. So we can go ahead and voxel remeshing this. I think 200 is good. Or around 200. Yeah, I think that's good. Can smooth this out a little bit. Perfect. Let's take this leg top clone. It will go here, world flip object. Okay, So now the other ones here, but we can actually adjust this a little bit. We wanted to pivot center pivot because it's not the same. He's not holding this foot. So if we want, we can adjust this foot a little bit. We'll be easier if we change the pivot to the base. We changed the pivot to the base of the leg. Generally. So maybe like there. So now that the pivots there, we can place the base where we want it. And then we can adjust our leg. Maybe something like this. Can use move and just kinda maybe move it a little bit. Just kinda make it perfect where we want it. Maybe down. Make move small so we can kinda just make smaller movements. So maybe his foot is on his ear. I like that and we can take the ER and we can use drag. And we can make an allowance for that weight on the ear. You know what? Let's turn off symmetry. And just work with this one ear. You're the one, the other ears busy. So I'm just going to push and pull. So it looks like this ear is being affected. Kind of watch the rest of the face though. We bent that ear a little bit. It looks good. I'm happy with it. I think we can voxel remeshing this face. I'm gonna do a quick save. Let's voxel remeshing this face. And I think the head one, good, everything is connected, That's perfect. So head one, Let's just remeshing it at like to 25 or civil. Okay. So I had one all solidified. Let's go ahead and smooth it. I think we can use symmetry. Although I think it's fine. It's not exactly symmetrical since we changed the year, but I don't think it's going to have too much of an impact. So I just want to make these nice and round. I don't really like this, this piece. So anytime you see that on an here, I'm just going to flatten it. Hits solo. So I can just see this and just flatten out, flatten those edges. Okay. So again, it's not bad. When we get a little rounder. Alright, cool, cool, cool. We can also add those little things too. We use inflate those little pieces. They kinda came off, it looks like. So I'll just add that and then just kinda smooth it a little bit. Give us that little piece back. If you really want to add some details, you can add, lets solo it again. You could do this. You can add a little crease here. Can you hear that? Smooth it out of it. Look good in that ear as well. Okay. Good. So we did this this leg part. We didn't we didn't add to inflate. But it seems okay. So it's tapped this way. My ooh, since I locked it. So what tab here? Solo. We can add in these little, these little bits with inflate. Like so it should be able to just smooth them. Lead smooths. Okay. Sort of breaking a little bit. Does break a little bit, but I think it looks actually think it still looks okay. Can you use crease? Maybe we can enhance it a bit with crease. Soften that crease lineup. I think that looks good. You can also add them on the top two to really get some separation. And then just smooth it out, make it nice and organic looking. We'll solo. And we'll do one on this side to inflate. If there's a way that I can do it without getting that breaking the clay. See you spit her if I do it on the leg. The leg. I think that is a bit better to do it more on the leg. It's solo and test out in the back. It's pretty good and we'll go ahead and do cool crease. Okay, it will smooth it out. And so at least we have a little bit of a subtle subtle break where the foot goes into the little shoe type thing. Okay, Good. Oh, and I guess we didn't 3D mesh the legs together, so let's do that. So body top. And we just need to find the little leg top. Leg top. Okay, that's great. I think we voxel remeshing. We don't need to do multigraphs or anything. I'll do a quick save like I always do. Then we'll voxel remeshing it works. We mentioned around 325 or so. And then go ahead and smooth it out. I can really tender. Tender for the top. Everything else looks good. 25. Hand Dialing: Okay, So I think we can go ahead and this is arm. Let's move this handout because the arm looks a little bit longer than the hand. So let's move this hands straight out a little bit. Maybe up. Particular Trio view. It looks good. Thumb is quite big though. The thumb is quite big. Lets see. So this thumb, Let's tap the three buttons and separate these shapes. We can take this in the middle and can scoot that up. Actually you maybe we can just make it smaller. So we'll make that smaller. And we can trim the bottom is or another. I thought the thumb was coming out of here, but this is actually the palm. Okay. I think that's pretty good. Can take this and make it a little smaller as well and just move it back a little bit. Okay, I think that's good. I think that's perfect. Okay, So the poem, I'm going to do a quick save. Now we just want to voxel remeshing all this together. I think it looks good, the positioning is good. The arm looks good. Arms a little vague on this side, so I'm gonna make it a little smaller item in the opposite. Yeah. I think the arms were smaller here. In bigger at the hands. That's a lot more aesthetically pleasing to me. Okay. Why I kinda got my wires crossed and did it the opposite way. This one is still okay. I think that's fine. Although the arm is a little low on the arm is a little low. So I just want to try to bring it up so I feel like the arms should be closer to the neck. So let's sub-divide this part. That way. We can just Remeshing everything together and we don't have any of those weird things. So let's validate this. So we validated that obviously we have to multi raise and sub-divide twice. For the poem. Let's do round edge a few times on the palm to make it nice and round. And then we can sub-divide it once a multi careers and sub-divide. So that'll make it a bit stronger. And again, this part is supposed to be more flat. The back part of our, see how their risk goes here. The back part of our hand is the smaller part. So actually need to take the hand again. We can put the, we can put the thumb back. Actually, we can just take the whole hand and move it. I just want to slide it down. This way. Down. Yes. Something like that. Okay. Who and actually, I don't even think I bent any of these fingers. I could dum, dum. So let's take move. We'll move this up. We'll make it nice and round like we do. You push up a little from the bottom and then pivot, center pivot. So we can kinda move this back. Pivots looks like it's all messed up, so we're just going to have to adjust the pivot most times so we can move it where we want, which is just packed down. Okay. That's good. So the fingers we can take move and just bent, put it, put a nice little bend in them. Okay, nice little bend. Let's move the pinkie over. So pivots, center pivot. Let's just move this over a bit. That pivot, center pivot. So now I'm just gonna kinda bend these a little bit and put them back in place. Take a look at our Trio view. It looks good. Probably twisted book. I think it looks good. Pivot, center pivot. These pivots are so off So unhelpful. So I'm going to move this back. I think I want to actually move these other fingers up a little bit more instead of so far down, if that makes sense. So basically what I'm thinking is if we look at the Trio, you can see his fingers, you can see more of the back of his fingers. So I'm going to keep not put them down so far. I'm just going to put them up a little bit more so we can see them. It'll be nice to see a little bit more of the separation of the fingers two. Another thing that might help is if we take the whole hand and actually just the pivot here. If it'll let me I take the whole hand and just move it a little bit more like this. I think we'll see a bit more in that view. Let's check it out. Okay, yes, so now we can see a bit more in that view. We can see a bit more of the back of the fingers. And actually it looks like this finger is down a little bit further. So I'm going to go back on what I said and put this one Down a little bit. Just cheating and using that little round thing in the middle to kinda freestyle. Okay, I think that's good. That looks almost perfect. The only other nit-picky thing is we can put this pinky down a little bit more. Let's move this. I'm just going to use move and just connect that a little bit better. Good. I think that's good. Okay, so now it's just a matter of I'm going to use move and just kinda bring some of these things together a little bit better. So that this to help with the smoothing process. Everything is pretty good, but I just wanted to marry things up a little, a tiny bit better. Any place where, where it looks like it might be a bit difficult. Loops. Like there's a lot of space here. So this is the kind of thing. I mean, I'm going to actually move this up. Then you go back to move and just go like that. This maybe I'll bring it down to the finger. See that this is what is more difficult to smooth. It makes it easier if you just bring it closer like this. The same thing here. Just bring these bits up a bit. You can get rid of that probably just with smooth, or we can just move it as long as we're on that finger. Everything else looks good. Looks like it might be a little close. That's bitter. Round this out a little bit more. Okay, good. I like it. I'm actually going to use clay. I'm just going to clay in a little round bit here. Since this is the prominent hand. So now you can see the other hand, we have another one here too. I usually don't put it in. I mean, these are very cartoony. But why not? So add that in there. And we can voxel remeshing. I think we can voxel remeshing this whole arm. So we'll take the arm and hand and everything connected. Still quick save. Let's see, let's check out the numbers here. Looks like everything should be okay. Thumb might have some issues with the thumb, but we'll see, Let's do voxel 3D mesh, like to 50. Be surprised if no one's like why does he choose these different numbers? It's usually random. 200 is like my go-to. 200's the perfect median. When I'm voxel remeshing, soft enough to get smooth, firm enough to hold decent amount of detail. I just go from there. I need more detail. Then eventually I this box where Image higher I go box remiss have five-hundred. It'll be harder to smooth. So you want to do the smoothing earlier on. But sometimes it's a mix of both. Like for example, now Voxel miss a 200 because I'm going to smooth this hand together. But when I voxel 3D mesh with the body and the face, I might Remeshing like 600 because I don't want it to affect any of the details in the face or the body or anything else. So that's why. And also now this finger is now the hand. Whereas before we had fingers and thumbs that were like individually 50,000, 60,000. Now the whole hand in the arm is one-fifth. So it's a bit smaller. Okay. Good, Good. That's good. He's finished. He's already meshed. He's not really messed with the body. Okay, so let's do this little guy. So he's just reaching. Have to do this little guy. So we'll make him this one is just like the hands are pretty much the same. We'll have to just work on those. I'm gonna do this little thing that I did with the thumb since the thumb was giving me issues before. I'm just going to separate now and do the little bit of the edits that I did before. So I'm gonna make this smaller, this little piece, whole thing a little smaller. Then make this part a little bit smaller. And just maybe use move and get them nice and smooth together. So they look good. I think that's perfect. The only difference with this thumb. So these two as the great thing about separation, that the reason why I joined it is just in case I needed to do something like this. So this thumb is a little bit different in a little bit different level location. More in the front. He's reaching. So it really has to look like he's reaching. So I think it's just going to be a little bit different. So I think I should stretch this out more like so. And I think I should move this whole thumb area needs to be more like this. Let me change this pivot. And of course, things like this. I mean, you're going to have to go your own pace. But hopefully the main thing is just seeing like my my thought process, why I'm doing certain things. Take as long as you can do them. Because it's gonna be I know it's hard to follow some times because I'm just thinking on a whim. But hopefully I'm explaining that the reasons why I'm doing certain things. You know what I mean? Like for example, like I just want this thumb to look like she's reaching. So it's not really on the side, it's more on the front of his little hand. And also sometimes I just have to experiment and see which one looks better. See it's still looks a bit weird. We'll come back and work a little bit more on this in the next video. I think I maybe just need to rotate it out a bit more. Something like that. We'll see. We'll continue remeshing this stuff up. I think the next video might be the final Remeshing. I think we can do final Adjustments. Final Remeshing. We'll see, don't forget to save 26. Final Hand Tweaks: Okay, So I think I need to I think one of the things that might've been bothering me was this part of the thumb, I'm going to pivot center pivot. I'm going to use move and bend it like this. A little hard to navigate. I think I actually wanted to give it less bend. So think I'm going to move it here. Then put it a little straighter. So something like that. So we put that thumb there. I think that looks better. And now we can just maneuver this this little part to work with that. Instead. Going to make sure doesn't get warped to warped. Okay, I think that's better. I think that's much, much better. So now I'm just going to take move and I just want to marry. I know I keep saying that word, but it's only were they really makes sense here. I want to bring this like chicken bone up to it. I just want like a smooth sorry, I know I'm moving this thing around a lot. A lot of moving pieces. I think I just wanted like a smooth line like this. I think. I think I can get that with move. I would also like it to be smooth with this thumb. So I'm going to stretch it up. In the bottom part, maybe I'll just stretch it out like this. So again, it marries up with this ball here, which I can also kinda stretch. Make that work. Okay, I think that's decent. The only thing I wanna do now is I just feel like it's a little too far away. If I can find that little centerpiece. Bring it in. And I don't know what happened. I thought I made it flat, but I need to make it more flat. Here we go. I think something like this will work. There we go. So we want to shapes like this. I know it's, I know it's tough. But again, see if we made a nice chicken chicken leg. It just gets a little tricky. So just take a good look at this and just try to figure out also, you can look at your Trio. You can see how the fingers look. Looks like I can actually bend him more forward. Let's take a look at the Trio. Pretty happy with it. See how we're seeing the back of the hand and not much of this one thumb. So what that tells me is I'm going to take all of these and I'm just going to, whoops, not the arm. I didn't remeshing it did. I know. So let's get rid of the arm. Pivot, center pivot. So I just wanted to adjust this a little bit more. It's a little tricky. Gizmos, the worst pivot center pivot. I can't I just okay. There we go. Hopefully this has here we go. That's much more helpful. Take a look at our Trio view. Okay, that's better. But his fingers are pointing up more. Trio view. Okay, that's, that looks better. That looks better. Okay, so now we just need to stretch this palm a little bit like this. Kinda get that flush. You can validate the arm. I'm just going to use Move and kinda move it a little bit. So let's go ahead and move these pieces. So now I'm just going to stretch this like we've been doing. Make that palm nice and round. Then move it down, pivot center, pivot, back down. Maybe a little bit more And somehow we moved it over. So just make sure that you you watch it because sometimes you can kinda move off center. You just have to kinda get it back into place. Let's bend these fingers now. A nice little bend in these fingers. Also trying to keep them like a fairly even with y's. So I pulled from the top and I push from the bottom. Okay. Smooth them out a little bit to get some of that roundness back. All right, so let's move these fingers back. Pivot, center, pivot, rotate. Little bit. Take a look at our Trio view. Looks good. A little bit more of a bend in this one. I'm going to move all these pivots are bugging me. Pivot, center pivot. Okay. So these were actually in pretty good positions? Just the pivot again. You put this one a little bit up higher. Also, this is the pinkie, so I'm gonna make this a little bit smaller. I would like to open it up a little bit more. By rotating this way. This one I'll rotate the other way. Maybe rotate it back even more. Let's take a look at our trio. Okay, It's not bad, but this is a little bit far out for me. So I'm going to bring it down more like so. Okay. I'm good with that. So let's go to this part and let's do some round edge. Do a couple because it's somehow it got a little bit thicker than needed. And all either purchase the good. The only other thing is this arm is a little little pig. Their we'll just move that. I'm gonna do the same thing. I'm gonna use clay. I'm just going to clay in the other part of the poem. So that will also help us with our, with our smoothing. Alright, so let's save. The thumb looks a little big compared to the fingers. These fingers gets smaller. Lets me call these a little bit bigger. Okay. It's better. I'm going to use flatten and just flatten this palm out a little bit. Because right now it's very far away from the fingers. Can also use move and just maybe we'll just pull the fingers down a bit. Okay. I think that's good. Do a quick save. And then we'll take this arm and the hand. Oh, do I need to subdivide this? Subdivide this twice. The Arms subdivided that twice, sub-divide this once. Everything else should be good. I think the thumbs good. Can sub-divide it once if we want. Now let's take all of this and voxel 3D mesh at 250, I think is fine. Then we'll do a nice little job of smoothing this out. Hopefully it starts to look like that magical cartoon hand. We've intended. Love when it comes together. Get everything nice and soft. Beautiful. Okay, so let's take this hand and we'll clone it. Will go here. Make sure we just have the x-axis. And I think maybe just flip object. You just flip object. That looks great. But I think we want to twist this one. Let's see, pivot, center pivot. So they're not so exactly the same. Separate them and maybe we'll just twist them a little bit. Just slightly adjust their position. We'll bring this arm out a bit. Okay, that looks good. You can also use move little bit and to just adjust the whole thing. As long as the Arms still looks okay. Arms Tool looks array. Okay, that looks good. I want to smooth out. There's a lot of seems very deep inside the hand, which I don't really like too much. So I might add a little clay to it, then just smooth it. So it's not so deep. I think I need to bring out this little chicken bone a little bit. Probably do it on this one tad bit too. K. I think that's good. Let's take a look at our Trio. Four. It looks good. We can probably bring this arm back a little bit too. It does look like it's out a bit far. So I'm just going to try to sneak it back into the body a little bit. Thinks something like that. We'll look at our trio again. Okay, I think that feels a bit better. Smudge More. And then I'll use move to sort of move this part up a little bit into the body. Okay, good. Alright, let's save Oliver legs. This is all one. Okay, the hats. So if we have this hat, I'm just going to voxel, voxel remeshing them together. Like 150. Smooth out a little bit. I think they need to be separated. Same thing with this one. Take the hat box 3D mesh. 165 should come up with arbitrary numbers that I always use. Two or three instead of 200. I don't know. I don't know why. I don't know why either. I'll do we do this hat but didn't do this 11 thing I'm thinking of with the hats as I might want to bring the hands down a bit more in the back. Fill me they need to be little stretched out a bit. Same thing with this one. Bring it down. This one too. Let's go ahead and take this hat voxel remeshing it. One-sixtieth, five. Give it a little smooth. The crevice even know really doesn't need it. That's okay. Give it a little extra love. Now let's just slide this back. Bit. Like so. Okay, good. So I think we can Let's do the lets do the Mouths. I think when we come back, we'll do the Mouths. And then we'll just demo, just put everything together. We'll figure out the Mouths. I don't want to voxel remeshing the arms and the bodies yet, only because if for some reason we do something with a Mouth and we need to change the head. We want to be able to change, we wanted to make those changes. Also, I want to box 3D mesh the head with the body. The top part of the body will do all that at once, going down the line. So next up will be the Mouths, trio, Mouths 27. Trio Mouths: Okay, so now we want to go to the head and we want to use regular mask. So we're gonna make this little mouth. So his mouth is only open a little bit. And it looks like it's might be on a little bit on the side of his, on the side of his mouth. So let's make it mask from an unmasked. So let's make it a little bit here. Really simple. So something kinda like that. Use unmasked and try to make it a little sharper. But I think something like that could do a little more right under his mouth. So maybe we'll try something like that. We'll stretch this. Okay, So I think that looks good. I'm going to use the gizmo. I'm gonna go to the mask and the mask tools and then invert this. So then I use gizmo and we'll just push this section back. So that'll give us the mouth cavity. Now we go back to our options and we can clear this. So then we have something like this. It looks pretty good. So I'm going to voxel remeshing this at 300 and replay going to do this a few times. So I'm going to 3D mesh at 300. So that's going to harden, harden that up a little bit. So now I want to take inflate and we're going to sort of build out like an upper lip. So I'm going to start here because he's gonna be smiling a little bit more. So then I just want to make an inflate line like that. I'll go over the front and then I'll make over it once more just so it sticks out like that. Okay. So I'm gonna do the same thing, but I'm just gonna do it along the bottom middle. Sort of like that. So let's refresh this at 300. So that'll solidify those up. We can smooth it out a little bit. And this is kinda how I build certain things little by little. I just do them very, very little by little. Smooth decided bit more. Okay? So something like that I think is okay. I'm going to add in this crease, actually before the crease, Let's use drags. So let's make his, this side of his mouth more like a smile. So I'm going to use chat, drag fairly small and push up in this corner. Even inside the push up on this corner. Maybe a little bit on the lip. So this is gonna give me that natural smile. So something like that. I would like it to be curved. It's a little tricky. I'm going to move in real close and see if I can. Kinda helps. Going and close helps. So the only thing here is I kinda wanna make another sort of crease. I don't want to make this smile the same, but I do want to make it like a crease. So we'll just kinda do this, call this back a little bit. Something like this. I think is pretty good. I think that's a pretty good start. Maybe I'll make drag a little bit bigger and just kinda fold in these lips a little bit more. Okay, so I want to bring this whole section out a little bit. This whole bottom section from his lip might have to kind of brings out the top a little bit to maybe drag is a better tool. That's not bad. Not bad. Okay? So just essentially, I want to have the lips kinda protruding like that And we're going to have to do a lot of remeshing and a lot of smoothing to clean this up. But, you know, step-by-step. So now let me use flattened. And for this lip, I'm going to start sort of underneath and then come on front and then back down underneath. So I'll show you what I mean. So I'm going to start sort of underneath with the flattened and then I'm going to come up towards the front of the lip. Then I'm gonna go back under that kind of under underneath towards that crease. So something like that. And I kinda want this bottom half, like the part that's going in the mouth is need to be too sharp. So that's why I'm just going over that bottom part little bit. Okay. And I also want to flatten the bottom part of the lip. Kinda just in the center. Top center. Sort of like that. Think that looks pretty good. So I'm going to go ahead and smooth, smooth all this out. So let's add a crease now. Let's add a crease right here going into the actual crease whips, you don't want to be on sub. Just regular crease is pretty good, but maybe I'll make it a little lower. Here we go. So now that part where I put decrease, I need to drag that anymore. Because that's gonna give us that natural cheek area. We can add some clay there too. You can take clay. You can embellish that. Because that's what gives us those cheeks when we smile, it's the fact that our lips are pushing up on certain spots. So then we can smooth. And that's pretty good. So I'm going to save them in a voxel remeshing the head again at 300. Again, this is just to solidify things that we're doing. Kinda help. It's set. K. Pretty happy with this, actually, not sure how much more need to do with this bottom lip. See? Yeah, kinda like it. I think I can bring it out a little bit more. By out. I just mean like straight out. The only thing that I would like to do. So I'm gonna, I'm gonna protect somebody you select Mask and lasso. I want to protect this whole top half. So I'm gonna go over this cheek that we just made and through that crevice. And then inside the middle of the mouth, and then inside this crevice as well. Now all of that is protected. So the only other thing that I think might look nice, I use move fairly small. And I move this up because this doesn't have that much. So it has less space there. Yeah, I think that would be I think that looks better. You can try to do it here as well. Okay. Alright. Yeah, I think that looks good. And I'm going to try it. I don't know if it'll look. Something is a kind of bugging me about the bottom part of the lip. Maybe it needs to be a bit more flat. Let's try that. I think I might just like less of a crease on the bottom. Maybe just like round like that. So let's get rid of this mask. So we'll go to mask tools and clear. And we'll do voxel remeshing it 300 again. Again, that's the kinda clean up what we did in solidify it. And now we just have to smooth out these little spots very gently though. We don't want to undo the work that we just did. That a little bit inside of there. Okay, I think that looks good. We have these little pieces, very small pieces that I want to try to smooth out. And now let's do our crease again. Now I'm going to use the curve that we made from the push to kinda just Enhance our little crease. We can do a little bit of that on this side as well. Okay. So that'll make it look like just more of a natural crease. And then of course I'll smooth it because I had just moved everything to really keep it looking organic. I think that's great. Okay, not a bad profile. The only thing I think the profile might need, you might need a little bit of a chin or something here. So let's see how that looks. Sometimes it looks weird when it just goes like right to the bottom Mouth. Sometimes it's a chin type area can really help. Maybe even rounding out the whole bottom of his of his face might help too. I think that looks pretty good. Okay. I think I liked that. He doesn't have any teeth. But let's see what my spheres want to do. So at a sphere, pretty small. See how they look. Let's go ahead and Mirror. Okay, whoops. Okay, so if we do something like that, bring them four again and clone. So when we clone them, you can just move the other ones. We can kind of pretend as though they're in the mouth. I'm gonna keep it on a line. We can kinda put it sort of like where these would be, which is here in angled back a little bit. These would actually be angled a little bit as well, like that. Okay. So let's see how lets see how these little dentures look. They're all in a mirror. So we'll have to deal with all it with this later. Let's do pivot, center pivot. Whereas the pivoting, where you pick pivoting, let me just grab these two. Here we go. Now we move it in there. And we have two. How's weird? Very strange. Let's take let's see. Let's join these two. Let's join them. Oh, Todd. Let's see what's the best way to handle this issue. Let's put it on auto. Well, actually, let's put it back to where it was. This is so strange. Strange how it reacts. Sometimes. It's very odd. Where is this gizmo? Just please let me just move this back. Sometimes the gizmo is can be your worst enemy. I just wanted to move that in there and then move it all over. Tilt it will take these and put them up a little bit more. Take these and stretch them out a little bit. So something like that. Those some spheres back there. I think it helps. I think it looks better. So I'm keeping it. I'm going to validate this. Or I probably could have not. This one is Mouth is like that. So this might be the only teeth. Tethys bottle. Okay, good. What does this tourists? This is the hat. So this is the bottom. Foot three. So this is the body. Bottom. All right, let's do a quick save. Okay. I'm pretty happy with that. He needs a Tongue to as he the body in there, Let's push the body down. So let's push that body down so we don't have any issues. At any point. Maybe drag is better. Okay. Because we can put a little tongue in there. Let's go back to the teeth. And fear. Media. So little, tiny little something doesn't really need to be to have many bells and whistles. Most people might not even notice it's there. But we know that's the key. We know it's there. I think that's good. Alright, cool. So let's save that one is good. Next we'll do this guy's mouth, open mouth. So we'll have to figure out the dynamics of that again, 2D is never one-to-one. So this one's a little tricky. It's gonna be a little tricky with the lips, but we're going to have to figure it out. So that'll be up next. Mid lips. Lips, lips med, one of the two we'll see 28. OOH Mouth: Alright, so for this little guy is Mouth. I think we'll weave. So we did it one way. Let's try a different way. Let's use layer and sub. So it's just kinda like a kind of a nervous, oh, oh Mouth. So we'll we'll just do something like this. I think something like that looks good. So we can actually, we can use mask. We can solo this. So we use mask and will mask the inside. Now that we made that shape with layer. Then we can go ahead and invert. And we can move this deeper inside the mouth so we don't have to worry about it. We can go ahead and clear the mask. Un-solo. Un-solo, Han Solo. These got a little funny too. So let's save. I like this so far. Let's save, and let's voxel remeshing this at 300. And let's actually smooth up here too. It looks much better. Okay, Now I'm going to softly smooth out mouthful area. Like using words that aren't words. It's actually not bad. Do I even need yeah, I guess he needs some sort of lip. Maybe we'll give them Michael little bottom lip. Let's use I'm pleased when actin kinda funny. I'm gonna do clay and then I'm gonna go here. The falloff seems normal. Scaling and stuff seems normal. Here. Everything looks good. Clay has been acting a little funny, haven't been using it that much. So maybe we'll try to use clay for the bottom lip. Make it a little bit bigger. Here we go. So just give them a little something down there. You make it a little bit. Let's see how that looks when we smooth it out. I liked the way it looks. I just want to I just want to pull it out a little bit and maybe drag. I just want to extract it a little bit from the mouth. Oops. Oh yeah, I think that's probably good enough. I don't even really think I need to much more than that. We don't really don't need teeth, but let's make a little Tongue. He doesn't have a little tongue in there. So let's add a sphere. Okay, so we'll make it small. This could actually be a tooth as well. So let's go ahead and clone it. Let's validate. This one will be Tethys middle. Let's clone that. And just name this one Tongue, Tongue middle. Okay, so we can go ahead with Tongue middle. Move. It doesn't mean much for this. Maybe a little bit, maybe a little bit of a bend. But I think that's even too much squid and slurp that in something like that. Yeah, I think that's good. So let's see if we've maybe we want some teeth as well. We'll make these smaller flatten. Oops, oops, whoops. Those into place. And actually we can do, if we do show line again, right now, we should be in the X. We can do symmetry, and then the vertex can do that whole thing again. You take off, take it off symmetry. We can put it back to auto. And then we can voxel remeshing this small, like 140 Smooth it and then give it a nice bend. Flatten it. I don't know. Maybe you just want like a little bit of teeth showing or is that I think I like that, you know, I love teeth. You know, it's hard for me to do anything without teeth. So this guy definitely has teeth and I think we can have plenty of time to work on his little Tongue. So he has, lets use the crease for him. Let's go ahead and solo it. So he just has irregular smile. So maybe we don't need symmetry. Maybe we'll just go like this and then bring this down and around. That looks weird. It's a little more balanced. It could a little deeper. Okay, so now the Tongue coming out to little, it's not as easy as it seems unfortunately. But you know what, let's just use it and let's just use a sphere. Let's go ahead and sphere this little Tongue. Move it up. They look good, which is that simple Mouth. I really liked them with that simple Mouth front. So we'll sort of put it into place. So this one, I'm gonna do a little bit differently than the other tongues. So I'm going to flatten it out, make it pretty small, maybe stretch it a little bit. And I want to, I'm going to validate and then I want to flatten. This Tongue. Can turn symmetry on. I want to flatten the sides. You can smooth them out. And I guess we can put that little thingy there. So let's open up the bottom a little bit to make it rounder at the bottom. That needs to happen. We can make this really small and like okay, I think that might work. I don't really need to be a crease on that part of the tongue, but the drawing does have it. So I don't know this. We can add it for now. Because I feel like decrease would be on the top and I feel like it was Tongue was actually like this. This would be the bottom of his tongue. But we're not gonna get too crazy. We've already gotten a lot crazy. So I think we're good. Suddenly problem is the Mouth is a little too high. Maybe not, maybe we can still salvage it. If we make this a little smaller. Make it a little smaller. Let's turn it. I'm just going to continue adjusted wire to turn it off of a line. That'll help. Maybe something like that. But I think I want to move each side, so I'm going to keep symmetry off. Just move each side. Maybe pull a little bit with move to give it like a nice curve. I think that makes sense. And I want to bend this into the mouth. So I'm just using move to bend it into the mouth. A bit. Lock so I don't keep touching other meshes. Here we go. That's not bad. It's not terrible. I still want a bit more of a curve here. So I'm just going to continue working this. Okay? So now what we can do is also we can make another lip on this side so we can use clay or inflate its try and fleet. So now we're gonna be on the head. Oh, I locked it. So now we're on the head. If we make them more of a lip, you know what? I think that will work, but I think we need to voxel remeshing his head. Somebody hit Save. Let's voxel remeshing this head like 300. Again, the reason I'm doing it at 300, because there was this Hrdy voxel remeshing. It wasn't interesting. Let's check everything. Was it? Oh, no, it's I think it's joined. That's what it is. It's joined. It's not Remeshing. Let's just check I separate. Check these out. Yeah, these we need to subdivide and sub-divide twice. This one. Here sub-divide twice years, sub-divide those once. Just make them a little bit bigger so we don't have that. You know, that 24, I think the nose, let's sub-divide the nose wants okay. So I'm going to save this. Don't want the Pupils. We don't want the I don't want this. I don't want to think just this. So all of this we can, or maybe the nose, I don't 3D mesh together with it. We can do the nose too. So let's voxel remeshing all these at 300. Here we go. So let's smooth. It turns symmetry on in smooth out our nose here. Smooth this out. Smooth out the ears. And again, you can flatten the ears if you want. I don't really like when they're so sharp like that. Flattened nose out. With all this out, hopefully the heck covers most of that, will un-solo it. See you how we're doing. Still looks pretty good. I'm going to use Move and I want to still puff out this Tongue a little bit. I don't want it to look like it's going like flat. I want us to look like it's curling in, but not like it's not like it's flat. So you need a bit of an angle. Like it's coming out and then it's turning upwards. Okay. So something like that I think is good. Let's hide these hands so we can see a bit better. Hide this one too. Okay. Back to the head with time. Okay. We have few more minutes. So now let's try clay on the face. Let's see if clay can give us leg a little bit of a lip. Smooth. Let's see. This way to do this. Let's use crease again. Let's turn off symmetry. Try crease again. Let's take drag and work on this smile. So let's push this in. Drag a little high. It's the only thing that bugs me. Maybe we can make the eyes higher. The Eyes and the Pupils. Might be a good way to remedy this problem. Pivot center. To come on, You can't, we won't go into center. Pivot. Sometimes it's the worst. So maybe we can move these up Bit gives us a little more space. I think he's still looks pretty still looks just as cute with the Eyes up. Okay. So the only thing is this little section here. Let's try layer. With layer. It's going to make an actual depression in there. So maybe that's what we need. Let's try to smooth it out. See what lets try to move the tongue, finagle the tongue so it actually looks like it's coming out. Just a lot of push and pull. Maybe drag, drag works. Puff it out a little bit here too. I think that's good. I think that's good. I like it. Can smooth out the head a bit. Smooth these bits out. And now let's just use crease one more time right in that crevasse. So we use crease one more time there. Maybe even drag and just press, depress this in a little bit. It's going to make them look like she's going to sell the smile a little bit more. But we definitely have to smooth over here. Sometimes you just have to crease and then smooth crease and then smooth until it looks good. I'm happy with that. Happy with that. Flattened looks good. I might even pinch the angles on the tongue just to make, to make them a little more prominent. Then you can also add a little bit more of a crease to the Tongue. He looks like we need it looks like on with this to be round, equally round. So I'm just going to have this part out a little bit. Here we go. Okay. I think I'm happy with that. I want to use crease in sub and I just don't like how much area this is. So I'm going to try to pretend like the lip starts here. So I'm on the head. I want to pretend like the lip starts there. So I'm just using the reverse crease. So hopefully if I smooth it, it'll just look like that's the lip. It's a little sharp there. They Down a little bit more. Okay. I'm cool with that. I'm cool with that. Lets bring the arms back. Okay, cool. So the Mouths for good and wound come back. We will, lets just put other parts together. We'll do some last details, but we'll put all the parts together 29. Final Assembly: So give your models of good, long look. Twirl it around, make sure everything is as you want it to be. Add little details. I think I'm going to add in like these little things on the ears that I don't really see anymore. At a little bit of those. This one's are good. This one not so much symmetry on and just kinda at them again. And once you're good, once you're good with it, we can voxel remeshing the top halves. So I'm gonna hit quick save, since we're about to do a lot of voxel remeshing it safe. So we'll take the head. Okay. So top body split in the head and the Arms. Where's the arms? There we go. Arm. Arm. Okay. Good. So all of these, the body, whoops. The head top and the two arms, we went up voxel remeshing all those together. I'm gonna do it at like 400. Then I'm gonna go in and smooth out just the last bits. Whatever I added, I'm just going to smooth this out. So it looks good. Everything else looks good. All the details still look good. You can smooth out all this arms. He's got a little attached there, but that's okay. Not too bad. Who was a little annoying though, is a little annoying. If that happens, there is a way to mitigate that. Just take move and maybe move it slightly move the arm slightly down. I'm thinking needs to be that much. Hopefully that's enough. So we'll do Arms, head, and the top body split. We'll do the same thing, 400. There you go. Good. So now we just need to do the same things again. Smooth that out and then smooth out where the neck meets the arm and all that good stuff. Good, Perfect. Love it. Okay, that one's done. Let's hit Save. Let's go on to this guy. One last look. Make sure everything is as you want it to be. I like it. I'm happy. You spent a lot of time on these things, so we just got to see it through to the end. So body mid split, head. Where are the arms? I'm going to move body mid split here. Middle tail. Where the Arms. Oh, okay. So that's finger and that's hand. Okay. Those are the arms. I'm just going to join those and bring them up here. So body, Arms, head, do a quick save. And then I'm going to voxel 3D mesh, same thing, a 400. Okay, Good. So now with symmetry, is there anything we need to smooth? Cyclic, smooth, a little bit of this nose area. That nice and smooth. Smooth into here. Get that looking nice and smooth. My favorite part I love smoothing stuff, how this looks a little bit too. Cylinder. So I'm just going to smooth the heck out of this, his little hand. We can take Symmetry off. So it looks a little less like just a cylinder. It looks good, great. I'm happy. Let's take the back of the ears. Looks good. Okay, so now onto the bottom one, this one, we have a lot of details. So we just need to be a little careful. So we have the body. Is this, well, that's the tail. Let's see where the arms. Okay, Here we go, arm, arm. We have those. Let's go ahead and join those And head. Okay, quick save. And I just the reason why I save so much because if I do get a crash, I don't want to have to do any steps again. I just want to jump right into it. So 400 3D mesh. Keep an eye on your Mouth. Mouth still looks good. That was one thing I was worried about. Hands and everything still look good. Smooth all of this out. Again, careful on this bottom crease. You don't want to pull that up too much. Looks good, wonderful, wonderful, wonderful. Very happy with that. Without the ears, I think we added those little things. One little thing that looks good. There's going to see you can push the foot up a little bit, but I like that It's so depressed in the hand. Now's a good time to add details. Like if you wanted to add details like like say on the foot, you want to add it like his fingers actually like Pressing on, pressing down on these things. So this is a good time to do things like that. These little details, they, they don't look like much, but they really make a big difference. And personally, I love doing details like this. Even if they're very subtle. I still, I still like it. And even after I, even after we work a ton, we spent a ton of time. But these little details, they really make it worth it for me. K. So we'll do a little bit on this one to be nugget in inflate. Sometimes I record and then like after like 15 min oh my God. I hope I press record. We'll do one here. Those out. Okay. Okay. Good. Good, good, good. Okay, so now I did want to do a little bit with the hat to with the hats. So I'm going to press down a little bit on the hat where there's weight. And I wanted to do inflate, we can make it a little bit bigger, maybe lower the intensity a little bit, and just use inflate. Inflate across the top. It's gonna be a little difficult to see. You could take this body blending, turn that down. So it makes sure we're on the hat. Inflate. Just kinda little too big. Just inflate in front of that. Let's see how it looks. Okay, I think there might be. Okay, lets bring the body back to opaque. And then let's smooth out. Undo that smooth. When I show you around the hat, the hat part out. Yeah, I think that's good. I think that makes sense. Can do a little bit here to inflate. Maybe, maybe not, maybe just the front. Okay? This one I think is good. We might put a little bit of an inflation maybe around here. See how it looks. If we soften it. Yeah. I don't mind that. I don't like the back one though. The sides I think looks good. The back looks for some reason it doesn't look. Natural domain. Can even add a little crease, maybe not inverted though. So just regular crease. Okay. I think we merge them. All right. I think we merge them all. Okay, cool. So the next part, what do we need to do next? Think, think, oh, eyebrows. I'm gonna do eyebrows and eyelashes. The only tricky one is this one, because this one is a little bit easily because he got like a little bit of a sudden 30. Joining the Fun: All right, so I lets us jump right into these eyebrows and eyelashes. The rest are really simple. Ready done them. We know how to do it. We'll just use Curve and snap. Make sure you're on the face to something like that. We can get rid of these. I had a feeling that was going to happen. It's kinda silly, but alright. Alright, so we made that we turn snap off. Okay, so now we'll turn on spline. Let's good. So now we will hit radius twice so that we can just adjust this as we need. It looks great. I think that looks pretty good. It will make this a little bit thicker here. All right. Yeah, I think that looks good. We can go ahead and mirror. It, will save us a lot of work. And we can validate it. Hit it with the round edge. A couple of times. If you want to, you can flatten it, but you don't have to keep keep that one round. Keep that one round. I feel like I need to just just a little bit. Okay. Same thing. Tube, curve and do the right here. Like so. Spline will turn snap off. We'll make it bigger to start with this Time. Radius twice. Make the middle one's a little bit bigger. Then we can start our little taper. Going to add an extra one here to help with their taper. Be a little too big. Okay. Bring it into the mesh. Bring it into the mesh. K, Something like that I think is good. I feel like I I tend to put them a little too much, not enough on this side and More on the inside. So I'm gonna change that today. It's always good to know things that you tend to do so that you can fix them, change them. So I'm gonna delete that one. Push this inside the body little bit more. So it's not so it's not so round. Sorry, it's little hard to navigate. But I think that looks good. Make sure that this is here we go. Good. So I'm going to validate those. These are both going to be black, so I think I'm just going to validate them and call this Lashes, middle. I could probably do the same thing on the bottom. Two. Yes. So I'm gonna take all these well first and then take this and validate it. And I'm going to take all these enjoin. This will be lashes. Bottom there altogether. These are all together. Now we just have to do this little guy. We'll do curve. Let's do path for this one. Let's switch it up. So we'll start here. Okay, I think that's brilliant. I should have actually been changing this to flat. It kinda just forgot about it. Hopefully you can hear the music. It's gonna be amazing when I'm able to move. Why is that twisting it? When I'm able to move and have like a quiet place to work. Cannot we cannot wait, folks. I think that's actually pretty good. You know, I probably don't have to. I kinda wish I didn't make these sharp. I probably could have just kept them a little bit thicker. But I didn't think about it. But this looks good. Let's go ahead and mirror it. And I think that looks ooh, Is it a little off here? It's a little bit different on this side. So the symmetry is a little bit different. So we can validate, I'm going to split with rectangle. I'm going to split this one. Oh, wait a minute. Let's see. Let's go here and validate this whole thing. So the see, these are the Brows, Brows top, but we need to split it. So we have this one. We'll just take split with rectangle and we'll just split that. And then we'll take this one and just move it over a little bit. Pivot, center, pivot. There we go. Let's hit them both with a round edge. Okay, let's smooth the bottom of this. The bottom is kinda funny. Try move. Smooth it so it's like in front. I don't know what's up with the bottom, but let's Remeshing. Maybe, maybe that'll help. Even if we Remeshing like 150. Then try to smooth that. Yeah, that's better. Smooth this part as well. I'll go to this one. I'll do the same thing, voxel remeshing around 150 and then just smooth out the front and smooth out the back part. The back, the tube, back to curve, snap is on. We'll do the some eyelashes. K just like that. So we will spline radius twice. So we'll make it a little bit bigger here. One can be a bit smaller. That goes into the mesh, will turn snap off. That way we can bring it into the mesh. This looks good, but let's just move it back a little bit. Perfect. Now we'll shrink this. Maybe we'll add another little note here. Good, I think that looks perfect. Try to keep it straight, straight as possible. This can go inside a little bit more. It looks great. Let's Mirror it and see how off it is. It is off. But we're going to validate. Then we're going to validate the mirror. So we'll go here. Validate Join children. Let's do a quick save. I think I've been saving enough. Then we're going to split. So we're going to take split rectangle, we're going to split this one. Make sure we're tapped on that one and then we can move it over. Pivot, center pivot. We move it over. And maybe we need to twist it a little bit this way. It's a bit hard to tell why it's not perfect match, but that's way when I say I'm just trying to match the two now, I'm just trying to get them fairly even. Sometimes it might be easier to just do the whole thing again, but I'm resisting. I'm going to use move I'm going to slightly move this over, even this one, I'm going to slightly move it over. Then back to this one. I'm going to move again and slightly move this where it should be, which is like right there. Just the end. I want to go inside the mesh. Perfect. Like pull this over a little bit. Okay. I think that's good. Save. Okay. The only other thing that I was talking about before, I think I wanted maybe inflate will work. I don't think I want these to be. I think I want to put some more, a little more mass on the, on the end. Wonder if symmetry we work. Let's smooth and let's see if these, I mean, that's pretty much what I wanted. Maybe clays better. Let's try clay. I think that looks a little bit better. Maybe I'll take flatten and just flatten this end. I think I liked that a little better. Oh good. This one only needs one side. Oh, there's another way to do it to you can take drag. And you can probably just kinda stretched this like so. That was way easier to straighten out this bottom part two. And we can even do pinch down here. Actually pinch probably isn't a good idea. It straight. I'll leave it alone. Okay, That's good. This one looks good. I'm going to use drag and just adjust it like we just did the bottom one because the bottom one was a better way to do it. Yeah. Because eyelashes are usually thicker on the inside and then they taper on the other side. So that's good, right? So we'll hit Save. Okay? Alright, so anymore D20, another little thing we can do is take each body, find the tail. Let's find the tail first. So this is the top tail, top body and we can join them. So middle tail. To find the middle body. It'll tell where's the middle body. Oh, that's head. Oh, middle till they're right next to each other. So I want it to be named middle tail. I know I want it to be named. So I'm going to join it like that. And then I'm going to middle body. Okay. So this is lashes, middle. So I'm going to adjust that teeth middle. I'm going to just all of these things. I probably don't need to do that, but that's okay. What does this tourists? That's the hat. That's the hat, middle hat brim. This is just hat Top. Hat, top, body top. Just doing some, some housekeeping. I think we'll just do this for a few minutes. Eyes white Pupils. Okay. Sphere. What is the sphere or that's the Tongue. Only midtone top. Sounds like a dictator or something. Okay, So leg, leg, top leg, mid, middle body. Let's move the leg down underneath the middle body. But actually there all the same color, aren't they? So it might be wise to actually connect them. In a sense. Lashes, bottom Brows, top split Just the what is this? Oh, this is the eyebrows on top. Okay. So these two I'm going to join. Oh, here we go. So this is the so we're going to join this. So these are the lashes top. Lashes top. We're going to move up to around here. Mirror split. What does that? Oh, I thought we are we missing something? We're missing. Okay. So lashes top. Let's take Mirror split. So we'll select that one and we'll select this one last. And then just join. So now they're altogether okay. Lashes, bottom, Tethys bottoms fear, what is this sphere? Oh, that's the Tongue. Name. Bottom. Tongue, hat, bottom, body, bottom. Okay, Great. Floor. Alright, so let's save. Okay, So these are actually all gonna be the same colors. They're gonna be the same colors and the same textures. So I think what the smartest thing to do is like take this body. The body top, middle body, bottom tail. Okay, where's the bottom body? Oh, that's this. That's head. So I think we take these and we join them. All of these things are gonna be blue. All these other things are gonna be white, the same color of white. So that top. These legs, not the is because there's gonna be glossy white. Leg, mid mid, bottom, bottom body will join those. We'll just name it bodyweight. Okay. Lashes, lashes. Lashes can join all of those Tongue. Tongue. Just joining all the things that are gonna be the same colors. Super simple. So the name is Tongue. These are Pupils. I whites, I whites. Whites. Will join all of those. We'll take them out. What is this head? Oh, this is the body Blue. Take these out. These are the Pupils on the bottom. Bottom Pupils. So this is middle Pupils. Top Pupils. Okay. So this is, I'm just kinda name of this lashes. Okay. Teeth, teeth. Teeth can go together, will join those Tethys. Bottom Tongue or that another Tongue here. Where's the top? Oh, I guess they all have tongues. So we wanted this one. Let's go ahead and validate that. And Tongue will join those. So that's the, those are the tongues. Okay, good. So everything is together. Looks good. I think next we'll come back and just set up our we'll set up like a little backdrop. And then we will position them next to each other. And we'll go from there. Alright, great job. We're almost there. 31. Setting The Scene: Okay, So let's, let's get rid of these things on the bottom. Remember we made all these. I don't really think we need them anymore. Let's just take a look at them. The two Hand backups, I'm gonna hit Solo. It's a cute little hand. Cute little hand. But we can always know what I'll do. You know what I'll do? Let's take this backup hand, will choose everything. And actually let's take each little finger and let's decimate. It. Will take each finger. Go to here. Ms. Decimate. Palm is small. All of these are small. The this little thumb part is not small. So let's decimate that to everything else is small. So I do like this little hand and it'll be good to use another characters. So one thing that you should do if you make something that you like, like this hand backup, what you can do is join it or not join it. We can go ahead and go to the little folder, export as a Nomad, only include selected five objects like this. You'll asked you to confirm. So then you can export that. I'm going to save to File and Save to characters. And I'm going to name it Smurf. I'm just going to emit cute Hand. Save. So now we have this little cute hand. I can just bring it over. I don't have to have to model it again if I don't want to. And also what's great is I can take these. I'm not going to use this box. So just make sure that you just her selecting these and you can delete delete them. We don't need them anymore. What does that look? That is anyway, so let's bring back, Let's un-solo everything else. Things still looks good. So now let's go ahead and bring this stuff back. And I think I did I make a backdrop. I think I recorded myself, me. Oh, yeah, I did record myself making the backdrop. That's right. I forgot all about that. So you can go to the little folder, add to Scene, important new file, fresh backdrop. You can add it in. You can bring it up till it's about where the floor is. You can cool like this to stretch the backup. So now we can get rid of this one that we just made. We don't really fresh backdrop is better anyway, so let's just delete this. Now we have fresh backdrop. Hope I didn't delete any. Oh, here at here it is. Okay. So let's print all of these back. And we'll select all of this. So hopefully this is all know, it's not body, body. Maybe that's everything. I got the hat. As Barry had bodyweight. Tethys think. Oh no. Okay. I got to reassess. Reassess. Okay, So I'm gonna hide all of this stuff. We've got to find our original guy here. So this is the original guy. Everything looks together. Okay, so it's just hat strawberry. Okay, So it's just this. Okay, good. So now we'll put it back to the front. And let's hide. Let's hide the backdrop really quick. So let's just scroll down and hide the first backdrop And now it's important, I think that we look at the whole image waxy. We can just look at him for now. Let's move him over a little bit and then turn him take it off snap. So we'll take it off snap will turn him a little bit like this. Now we'll go back into these characters. Will select all of these characters. Make sure that we're in the front again. And we'll move them over and turn them towards this little guy like this. So I think it's something like that. We can bring in the image. I can find it. References, we'll tap on here, import photos. You know what might actually be nice as well if I just made, I might want to make this in Procreate this orange backdrop. That might be nice. I think we can do it. Actually, I think we can do it here. So let's say we have this image open transform. Let's make it a little beer, lets put it over here. This is good. We can actually switch to perspective, make this bigger. So it kinda makes sense for them. The perfect spot, that one is touching the ground a little bit. He's a little bit off the ground. I'm okay with that. I would like to put the words they are to lets bring in the words. So let's lift first, let's open up to it on top plus AD and we're going to add a brick, aka a box gizmo. We're going to bring it up. You know, we're going to solo it actually. So now I'm just going to make it bigger, stretch it out this way. So now I want to, okay, so let's hit the gizmo again, three dots. And let's do the post subdivision up to like yeah, like 258 K. So we're gonna do something like that. Let's hit a quick save. Lets bring in the word tap on the stamp tool. Let's clone it. Stamp word. Stamp word is now on the bottom here. So now when we go up here to alpha, Let's tap on that. Let's import photos. Okay, so let's try the first one and just see what happens. Okay, so you can see that the falloff is not in our favor. So actually we need to scaling, so we need to scale this back. Number one, fall off. I just want this to be flat. I wanted to be a flat fall off. I'm not gonna mess with that for this pressure. Let's see how it looks first. Okay, doable. Let's go back to the options stroke. Let's lock the rotation. So this should be straight. Okay, that's good. So now take it off of sub, Maybe that'll be there we go. That's better. That's exactly what we want. So we just need to voxel image this even higher. So go to voxel remeshing, and this is 765, so that's really high. 1.64 million. So that's very high. Our project is getting very high, but we will be able to cut that down. So we'll go back to the stamp word. Start in the middle. And we'll go something like this. It's perfect. So now we just need to trim the back, please the rectangle, what? We can put it back in orthographic for this. And then just use the rectangle too. Yeah, let's do that. Trimmed. Then we have this right here. So let's remeshing it. Remeshing it like 350. Okay, it looks pretty good. So let's take rounded edge and see what rounded edge can do with this. Really don't want those like rib Ruby things. That's pretty good. I'm happy with that. I'm okay with that. I think that's good. I don't know how many times I'm going to say it. Okay, so now we can actually decimate this. So let's go back into here and will decimate this down. Doesn't need to be that big. Still looks great. Okay, we'll keep it at 16 for now. I might actually want so this, Let's just label this word or less, just nimble that the Smurfs. I want to add hoop, notice sphere. I want to add a box. We actually could have, probably could have used the other one. But just in case I want like some sort of backdrop for the word. I don't know, just for some reason it just feels right that this might have some sort of backdrop, Something like that. And so now I'm going to validate this and I'm going to round edge a few times, so it's nice and round just like the word I'm going to decimated bunch of times. Okay, so now it's 1,000 and wonder if I can decimate it again. Still looks good. So now I'm going to clone it and make one a little bit higher and a little bit wider and just move it back. I don't know. I personally didn't. I just wanted to do something like that. So I'm going to join these. And this would be Smurfed box. If we need it. If we need it, we might not use it. Okay, let's get it off of solo. Let's take this and shrink it. We can put it kinda like here. Maybe a little bit bigger. Maybe we can actually turn it like this. Move it back behind them. But then turn it. I think that looks great. Let's see what out the box also looks good. Maybe even a little lower. Okay, so let's go back to perspective. So now this is the front. Lets tilt it because that's the image is actually tilted. So let's do that right there. And let's update one of this, update this first view. So we're going to update this first view. And then for this, I think we'll straighten this out. Actually. Move it back a little bit. Actually, no, it's moving forward. Okay, So this is how it looks in the front, which is really nice. Maybe move it even over a little bit more. Okay, I think this looks good. So let's see what do we wanna do next? I'm so excited. Let's save first off. So let's save. I think. Okay, we don't really need to look at this anymore. I think we can look at the backdrop. Let's just bring out the backdrop. Fresh backdrop. Whoops. Like suddenly undid can move this down a bit. Actually, no, let's move it up like that. Make sure we're in perspective. So it'd be something like this. I'm gonna go ahead and update the second view with this. Alright, so now my Before we get into lighting and stuff like that, I think we will just switch from Metcalf to let PBR K. And so now, just make sure you have the environment that I've included. When you have the Environment Image, just tap here, tap Import Photos, and then you import that photo that you want, it will show up. It'll look like this. I'm not sure what the numbers will be, but we'll be turning them off soon, probably around 2.9. But we're going to turn this off soon when we come back. So the next video, we will light the scene. So we'll we'll adjust all of these. I could probably do it. I can probably just do it now. If I take everything and make it like a sort of terracotta color. And the reason I do that is because when I do that before I light and I'd like to light. While everything is neutral, like a neutral color. White can be too bright, black can be too dark. So just a neutral color. If I paint everything this color than it's neutral, it's similar to the mat cap that we use the whole time, but it's different. So now we have it looking like this. So now we're good for lighting. So we can light it. After we light it, then we can do the, the colors. And maybe we'll start with the background. We'll try to get it that bright orange gradient, but we'll see next will be lighting 32. Lighting & Coloring: Servant do a really simple lighting setup for those of you that are joining us. From after this first little character, you should be able to jump right in. All the lighting is gonna be the same. So we have the front. The only thing we did with maneuver him a little bit so you just have to angle him kinda how you want it and then just like from there. So I'm going to start here. I think do we set this? Yes, two is the perfect scene. I think that's the perfect kind of setting. So that's what I'm going to light with first for lighting, the first thing we wanna do is go into this lighting panel and turn off the environment. This environment is mine. We should have downloaded from the Projects and Resources, but for now, we're just going to turn it off. Everything should be black. So now we're going to add our first light, headedness, light and looks beautiful already. So this is gonna be our first light. This is going to be the key light. So we're going to tap key or type key. So this is the key light. This is the key light is the main light of the scene. And this is a sunlight, so it doesn't matter where we move this. I like to put it generally where the light is coming from. So the arrow is pointing here. This feels like it's where the sun would be. So that's great. So the intensity, I'm going to put it up to about two, maybe even a little bit more, 2.5. I'd sometimes I tend to make my seat a little dark, so I'm trying to work on that. So 2.5 is where we'll start that I like to go into these three dots and also put on softness. Now again, we're not in post-process. And actually you can turn these down a little bit because this will kinda tax the system. I have my iPad on low-power mode, it seems to do better that way. I'll move it up a little bit. Okay, So we have our first light, we have our key light. And can good, we can clone that key light. It's really bright now. We call them the key light. We'll rename this one. Fill. This would be a fill light, might use it for something else later, but that's okay. So I'm going to move this over to this side. I'm going to move it down. Now. I'm going to put it on the other side where the shadows were. So maybe they're see this is off, see all these dark shadows on this is filling those dark shadows. Maybe I should do it. No, I think that's good. Okay. So as long as it's filling those shadows, It's doing its job, but we're going to turn the intensity down, way down, off, on. So it's just a slight fill of those dark shadows. We can leave that as is. Now. We'll take, we'll clone this fill light. And this will be a rim light. So this rim light will hopefully lead up the rim of our characters. We're gonna make that a spotlight. So now I'm going to scroll out and I'm gonna put it back here is okay, but I want to turn it so it's kinda hitting the characters. Maybe like from up top is kinda nice. I'll move it over. So maybe it's coming from up top over here. What I just did have those other little things that are solely there just to get the way when you're trying to light. So I'm going use this orange node to make this brighter or brighter to make it the cone angle wider. Now we can kinda just move it until we kinda get what we want. Can move it over a little bit. Not getting too much on him. Okay. So now there's a little bit on him. Okay. I like that. Like that better. I think that works. But we can turn this up a little bit. Let's think that's pretty good. Experiments and move it around until you get it to a place that you like. Maybe I'll move it back a little bit. Okay, Let's check out our whips checkout, our view. It looks good. See nice rim light looking good. So next, let's just add another light. So we'll go back to our lights. Will duplicate that and let's just name this TED. This is also a spotlight. Let's make this one cool. So let's go to the color and put it up to the bluish color. Maybe add a little bluish to it. Let's move this over. And I used to do this always on the top facing straight down, right over them. Which is kinda Fun. Little bright. Let's turn it down. So that's kinda Fun having it right over them. You can, you can kinda play around with it. Maybe it's a little more in front of them. And you can spin and adjust the lights as you wish. It looks great. And honestly, I think this is this is pretty good as is with these lights. The only thing that I would say is just play around with them. You might want disliked to be coming from the, from one side. You can kinda do that. Kinda makes that a little more brighter as a little, a little bit more to them. But it's tough enough. Sometimes you just have to go, go back and forth and see what you like more. I like that, but this feels a little bit more dynamic. I'm going to make it a little bit brighter. It's kinda nice on that word. The rim light seems like it's a little bright to me. The rim light seems a little bright, so I'm going to lower that down a little bit. Okay. I'm gonna go back to my view. Where's my view? My view is I think it's number two. Okay, so that's, that looks really nice. So that's just a really simple, easy lighting. Some of the things that I like to do while I'm in this phase is we'll take the bodies. So all of these bodies in his body body a. I'd like to make them subsurface. So we go into here subsurface and I'm bring the depth down, something like that. But I do like subsurface. So you can kinda play around with that and use that. But I like to do that, especially for the bodies that helps you get like the ear, the subsurface scattering, things like that just looks really good. I'll probably wind up doing it everything subsurface. But yeah, that looks great. So now, how much time do we have left? So let's save. Look at what we have made folks. So good. Okay, so now the next thing we can do is sort of color this. I kinda want to color the backdrop first. I want to see we can get that working. The backdrop is orange, but it's like an orangey yellow in the image. Let's take a look. Let's hide rich backdrop. So it's orangey on top and more yellowy on the bottom. So let's just paint the whole thing. Yellowy. Okay, So I guess that works. Then. I'm going to scroll out and use Select Mask with rectangle. Now I'm just going to select it maybe down to here or so. That might be okay, we might be alright. Now let's change the color to something more orangey. Maybe something like that. We can get rid of the mask. And maybe even take the mask again. Maybe even do a little bit of a gradient and the middle that might help us. So I'm going to do both of these. And then I'm gonna make a new layer. And I'm gonna make it just a little bit in the middle of both. Little bit brighter orange paint all. Let's get rid of the thingy That even do anything. I don't know. Maybe I didn't do pain all. Okay. Maybe I needed to be a little bit darker. Okay, that's a little bit better. So now let's take a smoothie ***. Smoothie *** is smooth tool with zero intensity. That's all it is. Smooth tool with zero intensity. And we should be able to smooth this out very nicely. We should be able to get a nice gradient. But I guess not interesting. Yeah, I guess not. Let's see what happens if we oh, my own a layer. What if I bring that town and then try, There we go. There we go. That's better. How did I do the opposite colors? How did I do that? Sometimes I don't know where I don't know what my issue is. Pain all. We're going to invert the mask and then we're going to do that yellowish color. Clear, smoothie PUE. Okay, that's a little bit more accurate. What I was thinking before. I think that's pretty good. You can actually move it back to, lets move it back a little bit. Okay, So good. Crisis averted. Let's hide the fresh backdrop. Let's save. And let's actually, this is just for me. I wanna do a save as new. Just because I liked this terracotta so much. I'm going to save one as terror. And then I'm gonna open up what we just were working on. Okay. I always do that. I always like to save an extra one. So now we can color in our Smurfs. Here we finished lighting. You can do Coloring as well. Why not? So first let's deal with the hats. And where's the other hand? Well, this is easy, simple. We'll just make the make it white. Maybe not too rough. Paint that white. Oh, one other thing I forgot. Adding the environment back. So we add the Environment back and we turn this down, maybe like 1.2 over. So let's till it looks a bit bright. We'll turn it way down. Maybe like 0.5. Okay, so now let's paint this way as well. And now his little legacies are also white. The eyes are going to be white but glossy. So we turned down the roughness. Same thing here. Paint. And the little Pupils are all the teeth. Let's do the teeth where we're, while we're still doing the white. Here we go teeth. White. But it can be glossy but maybe a little bit of roughness. K teeth. The teeth and Tongue together. Let's separate those. Get this Tongue out of here. So that's the Tongue. These are the teeth. We can join those backup. Then we can paint them white. The little bit of gloss. Okay. Smurfs looks like it's yellow. So we'll paint that yellow. Now the Smurfs are blue. I don't know why I'm speaking like that. That's a rule ahead. It it's tough when, when you take your Apple pencil away, a light goes to a bunch of other colors. Okay. It's a little too green. I think that's it. Ten the roughness up. Maybe right around there. Right around 0.6. I think that works. On all of these. We'll paint that the same. All of these are going to be black and rough. Pupils are gonna be black and shiny. Glossy, I should say. Same for those. Same for those lips. Here we go. These are black and rough. I don't have those together. I shouldn't have those together. Brows and lashes. Just join them. Paint them both black. Okay. Tongue can just be a nice baby pink. Even though they're Tongue is a very red. I don't want that. I want them to be like a nice baby pink Okay, something like that. I think it's good. Tongue paint. It should go for all of the tongues. Okay, so let's say it's looking good. Really good. He's a little bit far away. Right? Let's take all of these. Maybe not the sign. Let's leave the sign alone. Let's just move these forward. And it feels a bit better. Even though I still want them a little bit closer. Okay. I'm just going to hit Save. I think we colored everything except for the little Jell-O thing. So this can be white, maybe a little bit off, wait. Maybe a little ground in there and maybe leaving a little mental illness to kinda give it a little, something little icing, feeling, a little bit of roughness there. Something like that. This, Okay, How big is this? So that's 370 K massive. Lets save, and let's decimate. The next video. We're gonna do a lot of decimating. What am I doing. So the globe here to miss decimate, decimate, decimate. Huge. Definitely doesn't need to be that big. So now I want to make this I want this to be all. I wanted it to be like a yellowy kind of thing. Deny. Or we could do subsurface with a very high depth if we made it like reddish. Kind of interesting. But not really what, I don't really like it. I think I want to undo that. Um, if we were gonna make it yellowish, I think I would do refraction. Then interior roughness. Think I would do something like this. It's kinda cool. That's originally how I pictured it. I think I want to make it a cake. So if you want to do a jellyfish, that's how you do it. But I think I want to make it a cake. Cake would be would it be burnt? Would it be a little bit browner on top or on the bottom? I love that color. I think we can take the metal miss out though. So we'll paint it that color. Maybe even a little more rough. And I think the bottom would be a little a little darker. I'm not mistaken. So we'll use paint. Actually, we can just do select mask. We'll do it this way. Pain all clear that mask. And then smoothie PU, we can still do symmetry, maybe not. Then just smooth it. So I think we need a lighter yellow. A yellow looks a bit lost. So I'm just going to paint a lighter yellow on top. Now I'll use smoothie poor but a little bit smaller. Just kinda shaded in a little bit more. And I wanted, I just want to paint a little bit more of the lighter color towards the bottom. And then smoothie *** really softly down here. Okay, good. Alright, so next we'll color the berries and then we'll just start do some decimating so we can get our size down. Because it's a bit two is still a bit too high now for me. Alright? 33. Final Touches: Okay, So that looks good. We can just color these little berries. So the strawberry. Let's go ahead and color this strawberry color. Which I think is like that. I think it needs any mental illness. I don't think that'll make it look more strawberry. A little bit of gloss, maybe. It's kinda hard. You think you know exactly what a strawberry It looks like, like the color. But it's actually not that easy. But I think that looks pretty good. It looks a bit. Now these raspberries. Raspberries. Okay, I think all of these are the same. So these are like raspberries sort of closer to magenta. Little bit. I guess they're read to their more red. I definitely want to do subsurface with these Suarez. Subsurface. Want to add some depth to them. This red for this strawberries. Bugging me. I guess it's just gonna be read to these barriers. However. Where's the king barrier? There it is. So I think all these barriers are those and those can be there could be blueberries. Could be. They would be sort of like that color is kinda nice. You could also be a little bit darker, almost like there's some sort of like blackberries or something. Lets take what blueberries for now. This icing. How big is the icing? The icing we can decimate. So let's decimate that down. Okay, I think that's good. Let's make this subsurface. Bring the depth down a little bit. This cake. Let's also make that subsurface. And we'll bring the depth of that down. Okay, cake is small, strawberries, 24 K. So let's decimate that. Maybe twice is good. This little stem should be green. Maybe something. Take the metal NAS out. I don't know if this would be the same color or if this would be stem ish STEMI color. Think it'd be more of a brown. You asked me. Okay, let's decimate these. Misc, decimate, decimate, decimate K. Because these are so tiny that they don't really need to be as big as they are, That's pretty small. I didn't group the raspberries today. Where's the king barrier there it is. So all of these, I'm going to join together and just name them blueberries. See what size they are. Blueberries are 43 K, So let's decimate those. There are only spheres K. And let's group these rasp, rasp berries. Join 36. It will decimate those twice. The Plate. So we'll do a little silver Plate. Think silver is already here. So we'll do that. Silver always looks crazy. Unless you bring the roughness up to get that like silver color. It will take some of the middle miss out. How much wanted to be white? I'm honest. We're just like a different color Plate. Maybe like a wooden plate. You know what, We'll just go with the we'll go with silver. Goes something like that. K goes something like that. What is old? He was like, why did the teeth look so funny? So the teeth subsurface bring the depth down to maybe like 0.1 or so. And also we can decimate them. These are 51 K decimate, decimate, decimate them down to 3,000. Tongue is 43. So we're definitely going to decimate that down to five K might be able to do more. I just don't want to just kinda taking baby steps right at the moment. Plate is small, blueberries are small. Let's go to these teeth. Decimate these 12, will just meet them again. See how they look. They look okay. These are 78 K, so we can decimate these. The eyelashes and eyebrows and stuff. Okay, still looks pretty good to the same thing with him. Meet decimate. They still look good. His hat, we can decimate their hands and everything. This is 745 K. I'm gonna do a quick Save. Then I'm going to decimate. He wants twice. That's good. So their bodies also want to decimate maybe twice. Okay. All of the eyes we can decimate maybe twice. Pupils. Those aren't too bad. The Smurfs thing. Oh, that's good. We already decimated that. This thing. Just the floor. Can decimate that. 1.24. It's not too bad. Oh, the tongues. I don't think we did much with the tons, but just in case decimate those twice. All right, so let's save. So now our project is one point to three of the gradient. If I can bring it down under 1 million. We want this stupid box here. I don't know, I kinda like the box. The box is tricky for me because we could take like can make it orange, would match the motif. Or we could just leave it. I think this needs to be green as well. I'm going to take this green. This green. Maybe just a little bit darker. Alright, I like that. Is this subsurface, all this stuff. I want subsurface and just bring it down so you can still see it pretty clearly. But I definitely wanted all subsurface The blueberries to be Blueberry to be subsurface them know, bring it down really low. I think we did the bodies. We did the bodies that we do, the white will subsurface the white, we'll bring it down. Tongue subsurface. Town. Also the Tongue might need to be a little bit more red. Okay, with that. Okay. Alright, so I think that's pretty good. I'm going to turn this image off and bring back our backdrop. Okay, let's go to our view. Looks great. Let's go to post-process. Will turn this up. Looks really nice. You bring the exposure up, make our scene brighter. K. So the only other thing that I might do is make the Pupils a little bit smaller. That's the only thing. I'm gonna do that real quick. I'm gonna turn off post-process and turn this down. I'm going to save first. See, this should be in mirrors. So let's see what looks like if the Pupils are a little bit smaller. Interesting. There we go on his better. Come on. Gizmo, work with me here. I'm going to bring it down to the bottom. K. It looks good. I'm going to see what they look like if they were even a little bit smaller. I'm going to change the pivot so I can just move them in a direction I need to. That looks good. I think I like them better, a little bit smaller. Let's take this one. We can just use vertex. Let's see what that does. Pivot. Hopefully it still moves both. Yes. Great. To make this small amount. Maybe we want them looking a little bit up up at his little Smurf buddy. I think it might look better if they're all looking down at the the dessert. I want to move them closer together. Like his eyes. Pivot, center pivot. We're going to make them smaller like we made the other rascals Eyes smaller. Move them up a little bit, maybe this way bit. I think I liked that better. His eyes are kind of small. I don't think I need to make his any smaller. Think his Likud out a little bit. Okay, cool. I'm happy. I'll go to View and number two, make it a little bit bigger. Like that. I'll make it Trio. I'll name this fin. Let's check out post-process. Turn this all the way up. I need to adjust any of these. Turn that down a little bit. We want if the field okay, it looks pretty good. It's a little light. It's little bright. At yellow is very bright. Let's turn this down. Turn the environment down. Let's check it without these keys layer, this key is quite bright. Turn it down a little bit. Phil is, okay. The room is okay. In Top-down looks good. But maybe just wait, maybe not maybe not bluish. Change that to white. Okay, cool. I'm happy with it. I think it looks good. I'm going to save. Yeah. Okay. I guess sometimes it's hard to just get a nice view of what you wanna do. We go, alright, I think, I think that's it. I'm really happy with this. So much Fun. Hopefully you guys liked it. Hopefully you will give me a review. And posterior work, even if it's just this little Smurf. I'm probably going to work on this a little more. If you want to see the finished the absolute finished project, then I'll, I'll tell you all about that in the next video. We'll talk a little bit more about the Smurfs. But yeah, I mean, fantastic job. This was very, very tense, very tough characters to get right, especially in this very difficult. So if you made it this far, then I am very impressed. Even if you just got him done. I'm very impressed. Alright, I see in the next video 34. Export & Goodbye!: Okay, two other little quick words of wisdom. Just for Fun, I added two little raspberries on the ground. I adjusted the little box in the word make it made it touch the box. But here's something really cool. So you could go on the word, I want to make it brighter. So I'm going to clone the word, the Smurfs. So now that word is cloned. Now I'm gonna go to the materials, do additive. And I think I'm just gonna leave it at that. You can raise this to make it more bright, but I don't want it super, super bright because I wanted to, I want it to be easily readable. And sometimes like if you do always unlit, it'll be too bright. Because glowing will be a little bit too bright. So that's just two other things that I just did that I wanted to show you. So you can get the word nice and bright and make it look good. Alright, that's it. Okay, congrats on making it this far. Exporting your render. Your render is just your image. So when you want to export, firstly, you want us mixture that you save before you try to export. So just make sure that you save. Now, once you saved, go down and you'll see here the export said or the Render Settings. You can export this if you want to save your project, if you want to send it to another iPad or something, you can save it as a Nomad. Just make sure that you don't have this checked. Or else it'll only send one object. So you can save it as a Nomad. Is this if you want the file, just for nomad. If you want to send it to Blender, I'm gonna be sending that to Blender. I'll make a video on YouTube, so make sure you check that out. That's a G LTE F, but I'll walk you through that. I walk you through the best practices, what I like to do. And we'll light will make the scene in Blender. It'll be awesome. So if you want to just render the image, so you just go down to the Render Settings and you have your ratios here. I'm gonna do mine in for K. Usually 1080 is good, but sometimes I do videos in for K, So I'd like to have nice crisp images. So I'm gonna do for K, just makes sure that your post-process, when you turn post-process on, this is all this stuff that you kinda go through and see what you want to change and things like that. But the default might be good because this is a lot to go through. And you'll just have to kinda go through and see what you like and what you don't like. You want to have your lighting and all your stuff done before you come in here and start messing around with things. See, it's a very, very different look with each of these settings. So just go through and mess around with didn't have FUN. But you want to make sure that all the bells and whistles are up. So max samples full resolution, turn this all the way up. Match frame sampling. I usually put it at 500 when I'm working, I have it at 100. But when I'm exporting, I put it up to 500 samples. I think that I think that makes for a clearer image. So as long as that's all together, then I go here and export in for K. Now notice for K, you can see the crop. So that's why I squeeze my image down a little bit so it can fit in this crop. You can still see the sides, but I'm okay with that. We'll actually now that I've now that I've mentioned it, I'm just going to go to the gizmo and the background and just stretch this. So you actually don't see that. So I'll go back to my almost call them up. It's Smurfs. Now that I've made a little bit, a little change, I'm going to save. Yes. Then I'm gonna go down. Export is for K. So I will show you this image once it's finished. I think that's about it. I'm gonna get back behind the camera and give you a personal heartfelt, warm farewell. I'm super impressed that you were able to get through this. This was such a technical class is very difficult. I had a lot of Fun making it. I hope that you're okay with a faster pace, but that's kinda how it is once you do, once we did that one character, It's like we had the blueprint for the other ones. So hopefully you hung in there and hopefully you enjoyed it. And I know it's kinda tough, but once you get done and once you have something really cool to look at that you made, I think it's completely worth it. Alright, let me jump in front of the cameras so you can see my face. What's up, guys? Welcome back. If you got through that, I'm so impressed. Even if you're just did the one Smurf, that's not an easy Smurf, but hopefully you came away with the key takeaways is that you can pretty much Sculpt any character that you want to make. Put a box here, put a sphere here, use a tourist. Just figured out how to make things simple. Because everything, if you break it down, starts out simple and then it just gets more complicated along the way. So hopefully I made that clear enough and clean enough and smooth enough that you feel like that you have the competence that you can make any character because I guarantee that you can. I've never made a Smurf, but we figured out and make this Smurf together. I want to give a shout out to the original artists because anytime I do ART, that is someone else's. I always want to give that artists prompts, give that artists respect. I just want to mention that. So I pulled up the original Smurfs artists. So this is right from Wikipedia. The Smurfs was first created and introduced as a series of comic characters by the Belgian Comics artists pay you the pen name of Pierre Clifford in 1958, wherein they were known as laser shrimps. Sorry, but that's the best French that I could do on that one. Yeah, PEO, he's a Belgian graphic novelist. And apparently he's the one who created the Smurfs. Hopefully he's the one that drew the exact Smurfs that I showed you. It's kinda hard to be, to be 100%, but he's the creator of the Smurfs and we just made some Smurfs. So I want to give him a shout out. I mean, I know he's no longer with us, but I was gonna to give the proper respects to artists because that's just what we do. You know what I mean? I wouldn't be doing what I'm doing. I wouldn't be as inspired as I am if it wasn't for the great artists that came before me, the great artists that I always looked up to, that I still look up to artists that are better than me. Artists that are early on in their journey. I want to help them along the way. That's just my vibe. That's just how we roll. Make sure you rate and review. Hopefully you enjoyed the class. Also make sure you upload your projects to Projects and Resources. If you want to tag me on social media like Instagram, just make sure you tag me at drug-free, Dave, because that way I'll see it. I don't really tip my messages too much on Instagram. But if you actually physically tagged me in your post, then I'll be able to see it and I'm happy to repost it. Also, I'm gonna bring this project over into Blender. Nomad Sculpt is amazing, but the renders in Blender or on a different level cycles rendering is really cool. So I'm going to bring this Sculpt into Blender. I'm gonna do all that and a YouTube video also have a ton of other things on my YouTube as well. 3d printing, lots of Sculpting, lots of tutorials. I think I post content about Nomad Sculpt and 3D modeling pretty much every day. So hopefully I will see you there. Youtube.com slash drug-free Dave, but I'm drug-free Dave, across the board, TikTok or YouTube, Instagram. Not very difficult to find me. And with that, I've already taken up a lot of your time. Once again, I appreciate each and every one of you. This was really Fun. And I'm looking forward to the next class if you have any suggestions on things that you want to Sculpt, dropped me those notes. I'm very open to seeing what you guys want to Sculpt next because we can pretty much Sculpt anything. And I really enjoy it. I love Sculpting and I love teaching. Alright, keep drawing, keep Sculpting. Now see you all in the next video.