The Ultimate Nomad Sculpt to Blender Crossover 3D Class

1. Red Dynamo: Intro! : Can guarantee you've never done a tutorial where you do the whole sculpt top to bottom and nomad sculpt. Then crossover to blender for lighting, materials, and cycles rendering. And if you don't know what cycles rendering is, to your butt. I'm a drug pre Dave digital artist and content creator with a love for pancakes and creating beautiful three D illustrations and animations. I'm obsessed with making my art the best that it can be, so I knew eventually I'd have to dive into the can of worms that is blender. Did he just say what I thought he said? So, we're gonna do a full sculpt in Nomad, which is iPad, Samsung tablet, mobile device. Then I'm gonna walk you through the steps, exporting it to blender, which is on your computer. So you will need a computer for this class, and you will need a computer that's capable of running blender. So my recommendation is to download Blender to computer now to make sure you can get it up and running. This class is perfect if you're a new three D sculptor and you're looking to bring your renders to the next level. Now, you can just do the Nomad tutorial. Oh. You can continue on working in blender. I know you don't want to do it. I know blender is terrifying, but everyone has to take that first step eventually. So let this be your first step. Where's the blender? Keep drawing, keep sculpting. I look forward to seeing you in class. Nothing more would I teach you today. Sure. 2. Class Project: So, welcome to the class project. Now, this is a two tiered class project because you can just do one. So the first part of the class project is creating the sculpt in nomad. Of course, you can bring any sculpt over into blender. We're going to create the whole thing in nomad, and then I'm going to walk you through each step. Bringing it over into blender. The ultimate A plus is creating not only the nomad sculpt, but then also rendering it out in blender. Of course, I'm going to walk you through every single step. This class is a long time coming, and I've been wanting to do a blender tutorial for a long time, but I really had to get a handle on what I'm doing in a way that I can explain it. So hopefully you'll get it. So I'm going to explain it just the way I do with nomad. You're not going to be able to see my hands, and it's going to be tough. But I know you can do it. But that's pretty much it. Like, I always say, you can make this your own. Have fun with it. But I think this is an essential part in your production value, which is just the way that your sculpts look, the way that you present them. This is the next level. So I'm glad you're here with me, and I'm excited to get started making tutorials for blender. I think cycles rendering is going to blow you away. Alright, so I think that's about it. Let's jump into the next video getting started. 3. Getting Started: All right, let's get started. There's a few things that I do before I start any sculpt. First, I change from It PBR to MTCAP I'll explain exactly what that is. So now, this is our three D mesh. This is our only three D object in our physical space. Right now it's just a sphere, but it's pretty big, let's just delete it. Press the scene menu, delete, add, and we can go ahead and name. This is just the autosave and let's put I don't know what I'm going to name it yet. I'll probably change it. Okay, so now let's add let's just go back from the very beginning. We'll press here the scene menu, add a sphere. That's how you add a shape or a primitive. So when you hit Add, you see how it says primitives here. They're just simple shapes. There's some other things. We'll get to those later. So now our three D object is a sphere. Why did I delete it and add a new one? This one is much smaller and we didn't need one that was such a big size sphere. Also, I wanted to let you know about validating. When you see up here this validate, all that is is once you validate, then it's officially part of the project, and then you get all the tools. Right now, you see my tools are grade out. If I were to validate, you can use all the tools. We might do some things before we validate as we move forward. Tap undo, redo with three fingers, undo two fingers. This is the Snap cube. So you might see me sometimes when I'm sculpting and things are a little bit off center. I might just tap here, front, that's how you know you'll be looking at the front of the sculpt. Also, where I started this rant was Mt cap. White is a bit hard to see. It's a bit hard to sculpt with, and it's a bit bright. Let's tap this little sun right here and let's change from lit PBR to Mt cap. I think this is much more like clay. It's a three D object, but I like to call it clay. Momoame Clay, Amohol Clay. There's a few things also when I'm going through, I've voxel remesh. It's okay that you don't know exactly what that is now, but there's a shortcut right here and there's also the grid. There's a shortcut and the grid. Those are the shortcuts. And if you don't have those there, you can just tap right here. And you have your add shortcuts. Here you can add and remove shortcuts from this panel. So if you want to have it just like mine, just tap the voxel rems, and if you don't have grid for some reason, you can tap the grid there. The next thing that you might be wondering is why my sphere is smooth and yours is not. If that's the situation and yours is more pixelated, here's how you fix that. So we can go to this little menu here, the materials, and this is the only thing that we have up here, a sphere. So if you go down here, you see smooth shading. Smooth shading just makes it appear smooth. It actually looks like this. If I turn it off, that's what it actually looks like. I prefer to have smooth shading on. My smooth shading is on by default. If I go back here to the materials and I go down, you can see that my smooth shading for Auto is on. So if yours is different and you want to change that, again, just go, I think it's here. I might be the wrong one. Oh, no, I was the wrong one. So you go to this little COG here and you see the smooth shading. If I tap that, automatically, it will be off. If that's checked, then automatically it's on. Okay. As we have the grid behind. We're going to get rid of that. In a second, let's just set up our little stage, our floor, our character will have something to stand on and let's tap our scene. Add and we'll add a box. Now we have this box. Let's use the Gizmo. The Gizmo is like the controller. That's how you control all your three D objects. As you move this around, you see that there is a green arrow, red arrow, blue arrow, spheres, rings, and a big orange ring. Will the spheres stretch the arrows move it in whatever direction. The rings rotate it, and the orange ring makes it bigger and smaller. There's some other things, but I don't really use them at all. If you want to get real crazy, you can just take the middle and just move it around Wie Nilly, but I only use that in some situations. Okay, so let me make sure I undo so I'm right in the middle. Okay, perfect. What we're going to do is make a stage with this. I'm going to take the orange ring. It's a little bit hard to see, make it a little bit bigger. I'm going to hit front, and then I'm going to take this green sphere and just shrink it until about there. And I'm going to put it right on the edge so that the top of the rectangle or the top of the square is right on the bottom of the red line. Also, I have smooth shading on, so my square looks weird. I'm going to turn it off just for this shape. So I'm going to tap here. You see it has the box. It has whatever you have selected. That's what the name is here. I'm going to go down to smooth shading and I'll just turn it off and you'll see that the box is now sharp. Also, anytime you add something, it's always good to go to your scene and label it. Tap these three dots. Name, and we'll just name this floor and not sure what we use this sphere for. We'll probably use it for the head. Let's go to the sphere, tap here, name, head. Now we don't need the grid anymore, so let's turn the grid off there and now that's much nicer. Also, I didn't mention that my background is purple. If you want a different color background, just tap here, and then you can change it by tapping here, you can put it any color that you want. I prefer a darker color. The other thing that we can do in this menu is we can add a reference image. Make sure that your image is on your device if you're using a tablet or an iPad. I'm using an iPad Pro, just tap here, tap the image, Import, for me, I have it in my photos and just tap the reference, add. And okay, so let's close this. And now we see that our little character is here. Yours might be somewhere else. If you need to move it, just hit Transform, and then you can move it around. You notice everything else is blacked out. I think that's a pretty good spot. Once you have it placed, tap with one finger, and then you're back to sculpting mode. So let's save. Okay. Perfect. So like I mentioned, anytime you bring in a primitive or a simple shape, like, for example, this sphere, let's move it up a little bit. Whoops. Let's move it up a little bit. Let's go ahead and validate it. Now our sphere is validated, you'll notice that in our scene, now the validated part is white. Anything that's unvalidated is going to be orange. We can go ahead and validate this as well. Okay, now both of our shapes are validated, and I think we're ready to get started blocking out our character. In the next video, we'll begin blocking out our little red character here. 4. Helmet & Horns: Alright, so I made it a little smaller. I'm going to tap on the sphere so I can move it up. And this is going to be the head. So you can see the head is a little bit squashed, so we can do that easily with this green node. Probably around there. So it looks like even though it's squashed, it's not exactly like narrow the same amount as this. So let's actually start using our tools. Let's use the move tool. So your tools are right here. And let's use the move tool. Yours might be somewhere else, actually. But the move tool and let's make the radius, which is how big the tool is going to be, let's start at 2:50. Was that 250? 250. What I want to do is move this part up and maybe even move this part a little bit outwards to kind get this shape. You notice that it's happening on both sides and that's because we have symmetry enabled. That's a big help. Just maneuver these until they look like this shape. And I think this looks pretty good. I'm going to make it a little bit smaller here so that I can push up the bottom because it looks like the bottom is a little bit flatter. So I'll just kind of push up the bottom a little bit. I'm just going to turn it to make sure that it looked good from these other angles. So I'm looking at it from the top, and I don't think I want it to kind of narrow out here. So I'm going to do the same thing with the move tool. I'll make it a little bit bigger, and I'll just adjust the shape a little bit. So I'm just gonna pull that part outwards. I think that looks a little bit more what I would imagine this kind of helmet thing to look. I think that looks pretty good. Maybe I'll stretch it out a little bit. You can use your gizmo and then you can just pull. I think that looks good. Okay, so I think that's pretty good for the head. What we need to do now is we need to hollow it out so you can see this nice area here. We're going to hollow out this shape. So let's go ahead and take the head and clone it. So we have head one. Let's rename it. Tap these three dots, name, and let's just call this head X. Anything I put an X with, I'm going to cut it and you'll see what I mean in a moment. So we have head and then we have head X. So now go to the bottom and you see Xray. Let's tap Xray. So now we're using head x. I'm going to go ahead and hide this so I don't accidentally choose a tool so I can lay my hand on the screen. So I'm going to use this bigger orange ring to make this a little bit smaller. And you see how we can see inside that other sphere. So we just want to make it a little bit smaller, maybe around there. I think that looks pretty good. I think that's perfect. Come to think of it, we actually don't have to cut this other sphere. The only thing that we need to cut is the part where his face is showing beneath it. I think this is a great start. Let's hit Xray again and now we have the helmet and we have the yellow part that's kind of inset. That's perfect. So the next thing we want to do is maybe carve out this shape here. Let's add a cylinder. We'll tap here at our scene. Add a cylinder. Let's move the cylinder up. I'm going to name this cylinder cylinder X. Since we're not going to cut this anymore, let's name the head, head A, and head X, we'll change that to B. Head B. A is the bigger one, B is the internal smaller one. B is going to be yellow. Okay, so cylinder X. Let's use our gizmo. We'll move it up and then we'll move with the blue arrow towards us. And now let's go over here and you see this snap with the angle symbol. We'll tap that. So it should be at 90 degrees. If not, you can tap on it and change it to 90, and we're just going to rotate it 90 degrees with the red ring. It should only move 90 degrees. Perfect. So now let's go back to this option, and we just want to take this orange node at the front end and widen it. Let's take the back ring and make it smaller. We can move it in a little bit too. The reason why we're making this smaller is because you notice on the rim, it's not just a straight cut. It's almost beveled so that if this is wide, then it's going to bevel outwards and it should match up with that. I think that looks pretty good. Let's validate. And once this shape is validated, let's hit symmetry. This should automatically change to vertex. Let's take this red arrow and just pull it away from each other. Now let's shrink the whole thing and let's move it with the green arrow back into the head. You can see where I'm going with this. We're going to use this to carve out this shape. That looks too big, obviously. I can make it smaller with the larger orange ring. I'm thinking maybe something like that. Maybe a little bit smaller. We can pull it out a little bit too. But you have to use your judgment, and it looks like it's not wide enough, so I'm going to use this red arrow again and make it wider. Let's voxel remesh the shape. What that does is just going to recalculate it and make it a good solid piece. That method we use by using symmetry and pulling them apart, sometimes the shape can get a bit weird. So when I do things like that, I like to voxel remsh. Let's go here, voxel, and we can remsh Let's slide this up to about 1:50 or so. We'll do 160 and hit remesh. Sometimes you'll see me go like this. I'll swipe up on the shortcut. It's the same thing. So we'll just go to 160, remesh, and now the shape is remsh. So let's use the move tool, and let's just pull down the middle of this just to make it a little bit straighter. I think that looks pretty good. You can also take the smooth tool and just kind of smooth out this cylinder just to keep that bottom cut and nice and smooth. Okay? You don't want any, like, lines or you don't want you just want it to be straight across, it looks like. I might even take move and just push it up a little bit. The top, the top actually looks like it dips, so let's push that in a little bit. We'll make the move tool a little bit bigger, and we make it bigger and smaller because we want it to be very smooth transition. I think that looks good. You can try this a couple of times if you want. I like the look of that. Let's see if I have to edit it. We make sure that we're on this cylinder X. And then tap on the head as well, so we're in our scene. Cylinder X, head, and then we want to hit the little I on cylinder and it should turn off. If that doesn't turn off, hit advanced and uncheck sync visibility. So now that your head still has the little eyeball and this is hidden, you can hit Boolean Boolean, and it's going to carve that out of the circle. So now you can see what your shape might need. It might need some work. You can take move on this head, even though it says mesh, and you can actually move it around and shape it a little bit better if you need to. You can actually you can make the move in small and you can pull it down from the inside if you want to make sure that outer layer is showing. It's the same thing if I go to Xray C, I'm pulling it down from the inside. But I think that looks pretty good. I'll slide this out. I want the bottom a little bit straighter, more straight. I think that looks pretty good. So now we'll turn X ray off. And now we have this sphere, so I'm just gonna take move, and I'm just going to adjust it so that that rim is even all the way around. Perfect. It looks good. Okay, so it's a little craggy messed up around the edges. That's okay. Let's go ahead and voxel remesh it. Make sure that you're on mesh, and let's rename this name, head A. Now let's go down and voxel remesh it. I'm going to pull this up, and I'm going to do it at 2:50. So that got them pretty straight. Let's take the smooth tool and let's just smooth this out. Let's add on his little horns here. Let's take the tube tool path, and we don't need snap. For the tube tool, you just want to tap, pull down, and then let go. We can tap this green node here and we can go ahead and slide this one up to where it would be, I think that looks pretty good. We need to put a curve in it, so let's just tap in the middle and we can put that little curve in it. It looks like it's actually more horizontal on the head, so let's make sure we do it that way. Although you can do it however you want, really. I think that looks pretty good. I think I'm going to tilt mine. I'm going to use the gizmo, and I'm just gonna move it back and maybe, let's take it off of snap so I can kind of just twist. And twist it, I want to pointing towards the back a little bit, a little flavor. I think that looks good. Now let's go back to the tube by pressing this little squiggly right there, and let's work these radius radii. We'll tap once for now, and now we have oranges, two orange little nodes, so we can take the bottom one and make it wide, and we can pull it more into the head. This one we can shrink. Make this a little bit wider. Now let's hit profile. Okay, so here we have profile. Now, we have to figure out what we think this looks like if we think it's three or if we think it's four, if it's like two sides, the front and the back, or if it's just a triangle. So let's go to the profile options here. Let's say we wanted a triangle, we can just bring these together, and then you have a triangle. You can take twist and you can twist it Whoops. Something like that. Maybe it has three. I think that looks pretty good, actually. I think that looks pretty good. Make the bottom a little bit wider and then take a look. I think that looks good. So the character is sort of like this. So you have to take into account that we're going to look at it from the front, but you can also angle it so that you're getting a better idea of what it's going to look like. You can always take the gizmo again and you can make some small adjustments to its position as well. We'll just take that orange ring and move it right around there. I think. I think that looks perfect. So let's go back to our tube options. So we like where this is, so we can go ahead and make this sharp by bringing it all the way together. And then we can just tap mirror, and now we have it on the other side, and we're good to go. 5. Shape Blocking : So now let's make a cylinder here for his neck cuff. So let's tap our scene, add cylinder, excuse my throat. And let's tap on the cylinder and move it up. And let's rename it collar. So let's go ahead and use the gizmo. It looks a little hidden there, but it's there. Let's move it up and we'll shrink it with the green node, something like that. Maybe we'll make it a little bit smaller. I want to make it a little bit higher. I think what we're going to do when we make this shape eventually is we'll trim it because it looks like it's bigger in the front, but we'll deal with that when we get to it. Let's move it up to where it's probably around where it's going to go, and I think that looks pretty good for now. So now let's add another cylinder for the body. We can just tap our scene tap here and clone. Let's make this body. Let's go to the cylinder options here. Well, actually, we can just move it down with our gizmo so we don't get confused. We can make it a little bit smaller than the collar. Let's see, it looks like it's just a little bit smaller than the collar. We can go back to these options and then we can pull this down with the green. You have to gauge how far it is. It looks like it's a little bit shorter than the head as far as length. I think that looks pretty good and it's wider at the bottom. We'll use this orange node to make it a bit wider. Maybe I'll make this a little bit less wide. We have a little room for his arms. Okay, I think that looks pretty good. Let's move everything up. Remember this is our floor. I'm just going to make this a little bit smaller. Floor is on the bottom. I'm just going to select everything and just move it up some. I'm going to turn the grid on just to make sure that whoops. You have to be careful sometimes when you're moving things. I just want to make sure that everything remains straight. Okay. Because if you notice when I grabbed everything, this is off center, sometimes that can be a little tricky, so I just needed to keep an eye on it, but it looks like everything is fine. I probably should have brought it up higher. Let's bring it up higher. Let's bring it up to that line. Perfect. I'm going to turn the grid back off and now we can jump to the legs which are more cylinders. Let's take the body and clone it, and let's name this legs. So we'll use the Gizmo. We'll move this down and it looks like it's the opposite. So it's a little bit bigger on the top, so we can go back to these cylinder options and we can make this a little bit more leggish. It looks like something like that. It's not super tapered, just a little bit. We can go ahead and mirror them just so we can see how it looks. We've hit mirror, which means we have to go to the Gizmo let's make it smaller and move them separately. Pretend this is the only one here. The other one is just so we can get the size right. I'm going to make it smaller it looks like it should have a little bit to the edge of the body. So that looks good. Now I'm going to go back to the cylinder options and just kind of make it. We'll make these a little bit longer. I think that looks good. And we'll have to tilt them as well. It looks like they're tilted. So if we press the gizmo, they look like they should be kind of like this. And the bottom part is okay, even though we'retilting it because this cylinder is going to be straight, so that should look fine. Okay, so I'm going to move them over a little bit more and I think I'm going to bring them down a little bit more, stretch them out like this. We have this hissital pelvic region as well. I think I'm just going to use a box for that. Let's add a box and let's get it out of that mirror. Let's name the mirror legs. Let's name the box, legs, middle. We can go ahead and validate the box. Now we're on Gizmo, we can move this up, shrink we'll just put it up. It looks like it's something like that. I'm going to stretch it with this blue node. Something like this. Actually, you know what? I just thought of something smarter, let's do it. Instead of this box, let's delete it. Let's add another cylinder. Just long press it and let's bring it up right underneath the legs and let's relabel it legs. Mid. Although we're using a cylinder, there's something really cool that you can do with a cylinder, you can turn it into a box, but you can still adjust it like a cylinder. Now let's tap these three little dots and let's change the division X to four. Now it looks like a weird shaded box. So we'll go here to the material, and we'll turn smooth the shading off. Let's go to Gizmo. Snap. Instead of 90, let's just put in 45. And then let's rotate it to the left 45 degrees. That looks good. So I'm going to turn snap off. So now let's raise it up, shrink it. Let's take a look at Xray so we can just kind of see where it is. So we'll sort of shrink it like that. Actually, it looks a bit shorter. Maybe around there. We can turn X ray off. Now, we do want him to have a little bit of a backside, and I just want to pull it back and forth. But you see how the gizmo makes it difficult. So let's just hit pivot. Let's turn snap back on. The snap is still 45 degrees. But since we hit pivot, it's only going to affect the pivot or the gizmo, excuse me. Let's rotate it this way and then hit pivot again. We can hit Snap again as well. Now I can use this blue node to stretch it out. And we can take these options and we can open up the front or we can just make it a better shape, closer shape. I think that looks pretty good. I think I want to take these and make them a little bit wider at the top. Yeah, I think that looks good. So those shapes are looking nice. So I might also add another shape in the back, but I'm not exactly sure yet. Well, we can add Let's add another box. Let's use the gizmo. We'll move it up. Shrink back. We'll shrink it this way. And let's just kind of put it across like his little backside. Let's make it round, so we'll tap these three dots post subdivision two division X, we can just put it down to three is good, I think. We'll go ahead and validate it, and then maybe we can pull it, stretch it a little bit, we'll come back to that a little bit more later and fix that up. We'll add add another cylinder Gizmo and it's going to start to get easier the more you do it. You can see how characters, you'll just get faster and faster once you get a hang of the tools. We'll move it up over up and looks like it's already in a mirror. Let's take it out and just label it leg, cuffs. Okay. So this looks pretty good as far as the space from the SM. I think that looks good. So now we just go back to these settings and we'll just taper the bottom. Maybe we'll make this a little bit wider. Now we can go ahead and mirror it. We can give it its own mirror. Let's make sure we name the actual mirror leg cuffs. Because eventually we're going to flatten that down and it's going to take the name of the mirror. It's always good What is this too? These are the horns. It's always good to take the red name, figure out what it is, and just rename it. Let's make sure we save. Now there's two more cylinders. We can use the cuffs. We can take the whole thing and clone it, and then just rename that clone. Feet. Now we're going to tap on the actual leg cuffs. Let's just rename those two so we don't get confused. You want to be on the yellow part in order to adjust the feet. We'll bring it down and it looks like it's the opposite. Again, I'm going to tap the options. We'll bring these up. Maybe the whole things are a little smaller, his feet look like they're very small. We'll just make those small. Let's throw on the arms. Do I want to use a tube for the arms? Oh, let's use another tube. We'll go to path. We don't need snap. We'll start right at the armpit and we'll bring it down. Looks like his hand is going to be mid leg. I'm going to stop there so the hand looks like it'll probably be mid. Let's make the tubes. Like to view and make sure that make sure everything is still symmetrical. We can go ahead and add another node here to give a little bit of a arch in the arm. It looks like let's hit radius, looks like this end might be a little bit bigger. Let's go ahead and take this tube. First, let's move it out of the mirror. As always, let's rename it arm. Then let's clone it, and let's rename the clone arm cuff. Now we're on arm cuff. We can go ahead and just bring these into each other to delete them and then we'll bring this down. Now we just need to make this smaller and bring it out. Probably should have brought it out first, but that's okay. This is just the cuff. We can make it bigger actually. As long as we're making this side smaller. Actually, I want to put a little bend in that as well, so we'll add another one. The other thing is for this arm, I want to bend it back a little bit. Even though it doesn't really show it here, I think I want to take the arm and the arm cuff and I'll just use the gizmo and just move them back I think that looks pretty good. I want to take this cuff and then just adjust it to the changes from the other part of the arm. I think that looks perfect. Now if we want, we can go ahead and give a mirror and we can give the arm cuff a mirror. We just go add mirror. Let's go ahead and add two more cylinders. Let's turn it a little bit. Gizmo, these we can bring up forward. Snap. Let's change it back to 90. Or we could have just rotated it twice, but we rotate it forward. Big orange ring shrink. These are obviously going to be the eyes and then we'll just shrink it up like this and move it back into the head. We'll give it its own mirror and then separate. Let's make sure it's not already in a mirror. It is. Let's take this out. Let's take this mirror out, and then we can connect them back up. Okay, so into the face down. Skin him up a little bit, and then we can rotate. Let's take snap off. So then we can rotate, and we'll have to adjust them a little bit later, so we have some room for the mouth. So let's go ahead and take everything and move it down closer to this, and then we can give it a quick save. Just go to select everything except for the floor. Move it down some. So let's go ahead and save. 6. Toy Hands: Okay, so to make the hands, I think we need to make the shape of the palm and kind of just go from there. So let's add Box. So we'll take the gizmo, and let's just move it over. Like so. Whoops. Keep accidentally turning it around. I'm gonna hit solo. But I want to be able to see the box. Where's the box? Tap on the box and then hit solo. There we go. Okay, I'm gonna turn smooth shading off, so I'm gonna go to materials. Whoops, and then turn smooth shading Okay, so first, I'm going to make it a little bit thinner. And again, this is going to be the top of the back of the palm right here. This will be the inner side and the thumb will be somewhere around here. But for now, we're just going to look at it front on. So I'm going to trim this thing up. So first, let's go ahead and validate this shape. Let's take trim. And we need to forget about the thumb for now and just make this little opening. Let's take the polygon tool. Let's start around here and we'll just make something like that. Now we need to make a third one, just tap somewhere else, and we'll make a third one. Let's tap these dots and let's add another node. Now you can kind of feel, hopefully you can kind of get where I'm headed. Let's first make this little indentation here. So something like that. I'm going to add another one just to make sure that everything we're going to cut is going to be white. We'll do something like that. It gets a little wider there. Actually, and we're not going to worry about the thumb, we're just going to do the palm section. So this line is going down and then it's like, bam, bam. That's actually pretty good. That's actually pretty good. Let's trim this by just hitting this green. Beautiful. Now that's trimmed. Next, we just need to trim the back of this. I think we can use the line tool and just trim the back in like that. Perfect. I don't know why that is a little ugly back there. I'm not sure what happened to that, but I think it's fine, actually. For the thumb, I think I want to use the tube tool. Let's use path. Let's just make a path to where the thumb would go. Then we'll tap the green. Let's bring this out, so it's more in a thumbish type area. We'll bring that right into his little palm section. Let's make the whole thing bigger and let's make it square by using the profile so it can better already. We can go ahead and twist it, so we'll tap twist and we just twist it one of these ways so that it's nice and level. Okay, that's starting to look thummy. Okay, I think that looks good. So let's see if we can use the Gizmo. Gibmo doesn't really like it's helping us out too much. Let's see if we put this to 45 and hit pivot. Let's see if we can rotate the pivot. It's still a little bit off, unfortunately. I guess I mean, I guess we can we can just eyeball it like that, but it's not always the best thing to do, but I think we'll survive. All right, so I'm going to open this up a little bit and just move it down just so it's a little bit thicker. And let's turn smooth shading off. That looks good. Let's give it a little bit more subdivisions and linear subdivisions. Let's do two and two. Just give it a little more strength. I think that's good. Let's go ahead and validate this. The only thing that we need to do now is give it another little trim. I'm just going to turn it so it's on its side. And I'm going to take the polygon tool again. What is our printer doing? Our printer is just freaking out. So I'm going to go like that. I'm going to do a new one, make them all black, and I'm going to make this nice curve. So I'm going to make this round. Like so. So I'm thinking something like that will work. Let's just trim it and see how it looks. You think it looks great. Yeah, I think that looks good. I like it. So now I just want to take this, and I'm just going to move this with the move tool sew more into the palm. I'm kind of going to join these up a little bit. And we're going to smooth all this out. So actually, I don't mind that it's a little rough and ready. That's fine. I think that looks good. The only problem is, it looks like it's a little high. So I'm just going to take the gizmo and I'm going to use that pivot because I want to move it straight down this way, so I'm going to use pivot, rotate it until that arrow is pointed the way I want to move it, and then I'm just going to move it straight down. I think that looks good. Maybe I'll move it out a little bit more. But I think that looks good. I'll just take rectangle, and I'll trim the rest of this little palm. I think that's poefect. I'm going to hit left and I want to do this little piece in the middle here. I'm going to take this box, which is the hand, clone Gizmo. We'll move it out and then we'll just shrink it like this. Maybe we'll stretch it a little bit and then move it down. Maybe we won't stretch it. Maybe we'll stretch it this way. I think that looks good. I'll just take trim, and I think I just want to trim it here. Maybe I'll bring it in and then just stretch it. I think that works. Now we have that interesting middle piece as well. Now all these things we're going to vax remesh together and it's going to be a lot softer. It shouldn't be a little sharp, but it'll be a lot softer. Let's do these two pieces. Let's figure out which one of these two pieces are. We have this box, we have this tube. Those are the hands. Let's go ahead and voxel remesh them at 200. Remesh, boom. Good. Now that we've done that, we can smooth them out. Nice. And then we can take the other piece. We can voxel remash that. It doesn't need to be that much, maybe around 160 or so, and we can smooth this out as well. Okay, I think that's good. I might even make this a little bit thicker. If I wanted to come all the way down, no, I guess that's not gonna work, will it? I'd have to, like, stretch it maybe first and then do it and then bring it down. It's still a bit tricky to get perfectly right. There's got to be a way though, right? Okay, let's think about this. If I want to do what I'm trying to do, I need this part to be as long as that. If I want that part to be as long as that, I need to do select mask, rectangle, and I just need to pull this part down. Select mask and then clear. I'm just going to trim off all that stuff in the middle. I don't need any of that. All I need is the outside. So I'll just vax remash this around 150 or so and then I'll smooth it out again. I think that's good. Okay, let's solo unsolo. And let's take these boxes, and we'll shrink. And we'll get them close to where the hand is. That looks good. I tried this three different ways, and this looks the best. So you might have to take some time on it. Don't think that you have to rush and get it quickly. It takes time to kind of figure out the nuances and how to make things really look the way they should look. So they never feel like you have to rush when you're doing this stuff. Fortunately, it's like sometimes things just take a while to get right. And you can see I'm just kind of squashing it and pulling it and pushing it until it's exactly the way that I want it. So I'll just connect these up and then just take the box and add a mirror for the other hand. But I think that looks pretty good. Let's look at the pose again. Yeah, I think that looks pretty good. 7. Red Cape: Okay, so now let's do the cape. Let's add a box. Let's move it up out of that mirror and let's label it cape. Cape A or Cape A, apparently. So I'm going to take my gizmo and just move it up so it's up out of the way. So we'll turn it on its side. We'll make it a little bit thinner like that. We can make it a little bit bigger. Obviously, we want it to be behind him. So around there is good. Maybe a little bit longer. Let's turn smooth shading off. So we'll go to materials, smooth shading off. Let's make it a little thinner. Something like that. Now let's take Kp A and clone it, and this is going to be try. We'll just name that try. Actually, let's delete that. Let's add a new box and let's name that one try. Okay, now we're on the new box. Let's bring that up. Let's do Snap 45. Let's turn this left 45 degrees, then we have a nice triangle. Make it a little bit thinner, but thicker than the cape. Material smooth shading off. That's good. That's looking perfect. We can validate Gizmo. Bake. Remember, we're baking the position of it in the triangle, then we have to reset the gizmo by going pivot center pivot. It'd be nice if we can actually solo these two. Let's take cape and try and hit solo. Let's tap on the try and we'll just bring that down. I'm going to stretch it a little bit this way, like so, and I'm going to shrink it. Let's move it up. I think that'll be good. Just like that. Okay, so now we have try. Let's add a mirror. Now it has its own mirror, let's tap on try and actually, do we want to have one in the middle or do we want to whoops I accidentally clicked off of the cape. Let me select the cape and then hit it. Right now, these are mirrored. These three. Now if I tap here, and just so you're aware what happened was, if you're in solo, you have to have whatever you want selected, including the mirror. So if something goes away, just select all three of these, and then you have to tap on the one that you want with your finger, with the stylus, not with the Apple pencil. Right now, this is going to be the middle part of the cape. So we're going to bring it up and we're going to trim in there like that. That's looking good, but we want to make this more round. Let's take this and validate. And let's take move and let's make it more cape like. We'll pull this down, we'll pull this side up a bit, like that. We can pull this together. You can make that smaller if you want, if you want it to be a little bit more round. Think about this is the shape that you want the cape to be pretty much. I think that's good. Maybe you can always stretch it out a little bit too. But I think that's pretty good. I might trim off the top a little bit. You can just take trim and a rectangle and you can trim off a little bit. I'm going go back to these Gizmo and we can just clone these. I accidentally hit something else. Now we can just clone. I'll move it over. I actually want to tilt them a little bit. I'm going to hit Snap so that Snap is no more. Then I'm going to tilt it and move it up. I think it helps actually if you can see the negative space. Hopefully this makes sense. What I'm doing. I'm literally just thinking about the middle of the cape or the ends of the cape. I'm going to separate these a little bit more and maybe move them down. Now this is longer, and I'm going to clone these and I'm going to rotate them a little bit. You see how these should be triangles. I have to figure out how to best get them to be triangles. That works. I just need to move them down a bit. Now I have to do the same thing with these. There we go. You want to shape shape like that. I think that looks pretty good. All right. I think what will work best is if we take the cape, move it down, and just shrink it so it's kind of even so that this line is going to seamlessly go up the cape. I'm going to spread it out until it's right at that edge. I think that's good and then I'm going to spread it down so that you don't see it and I might have to do it again, just line it up. But I think that's perfect. Our cape is going to look like that. Now what we'll do is take all of these tries. The mirror and all the tries validate. I'm going to rename it try. Now we just need to vaxl remesh this together. I'm going to vox remesh it high so it's nice and crisp. I'm going to vax remesh around 300 so that everything stays nice and crisp. I'll take the cape. This I'm going to vax remesh as well, probably around the same. So I'll remesh it really high. Now I can take them both. I can hide the tran boolean. So let me have a pretty cool cape. I'm going to take or we can probably just stretch it with the gizmo. You can stretch it some and I might take smooth. You can either take smooth and try to smooth this out or you can take trim with the polygon tool and you can try to if you really want to get a nice edge, you can try to do something like this. I'll add a node in the middle. See how you can try to trim this so that it's a little more rounded. I don't know if it'll work. But sometimes you just have to, you know, let's say we want a trim like this and then maybe we can just trim that. I should have been symmetrical on the other side as well. So let's just hit view. Now it's a little more like a cape. I like it. Let's unsolo. Let's take the gizmo and just shrink it. We'll move it back into position a little bit, shrink it a little bit more, flatten it a little bit. That looks good. It's essentially something like this. I'm not sure how we're going to put it together, but it's something like that. I think that looks great. Of course, you can experiment, make different kinds of capes. But essentially, I like how that turned out. All right. Let's save. 8. Pushing & Pulling: So let's start with the feet. So I'm just gonna turn him so he's facing left, and we'll use move. We'll make it fairly small and make sure you have the feet selected. And I can see here that we need to validate. And once we're validated, we should be all good. Let's just check our feet here. So our foot is in a mirror. So when we work on 1 ft, it'll happen on the other side. So let's just pull this up a little bit. I think that's probably pretty good. So I'm just gonna use move and make sure that the foot is on the ground plane her box. So I think that looks pretty good. I'm gonna bring the inside in a little bit, so it's a little bit more foot like. Yeah, I think that's good. And of course, you can always go through and just check, make sure that you like the size. If you wanted to make them smaller, you can make them a little smaller. But I think that's pretty good. So I'm gonna go ahead and trim the bottom of the feet. That's one reason I want to make sure that they are on the ground plane. I'm going to go ahead and kind of adjust these a little bit more. And then I'm going to use trim and rectangle to just trim the bottoms. Okay, good. I'm gonna go ahead and box or remash them probably around 150 for now. You can give them a little smooth. Now, when you smooth them, you may have to kind of stretch them out a little bit if they kind of come up from the floor. It's a little pet peeve of mine when the feet are not touching the floor. So I always just kind of adjust them a little bit to make sure that they're nice and flat. You can use Xray too to make sure you don't push them down too far. Okay, that's pretty good. If TD prints something like this, it'll still be flat on the bottom. Okay, and as for the collar, let's go ahead and validate, turn smooth shading off. So tap material and then turn smooth shading off. And in my head, the back comes up a little bit. We see that the front comes down, so let's take move. And of course, you can kind of design this however you like. I'm making sure symmetry is on so that both sides are affected. So I just want to move the back of this up a little bit. And then I also want to bring this front down. But I don't necessarily want to bring the top down as well. Obviously, I just want to spread it out like so. And I think I want to trim a straight line down here, sort of cutting it sharply. So I'm gonna use trim line. And let's see how it looks. So I'm thinking of making a line. Now, we want everything in the white it's going to be cut. So I'm thinking something like this. Let's see how it looks. It looks good. I'm gonna go ahead and turn smooth shading back on. And I'm gonna Vox willll remish it. So let's ox we'll remish it like 175. I'm gonna give it a nice smooth I want to try to get the crease in the middle. Let's use crease and make sure you have it on invert. Let's see if we can get this crease in the middle. Let's go to symmetry and hit Show line. So that'll give us the cheat code to where the middle is. It's always easier for me to make a straight line in a diagonal. Now I'm just going to actually, the smarter thing to do would be to turn off symmetry and just try to get this inverted crease right up the middle. Okay. I'm going to turn this off for now. So I'll uncheck show line. Okay, I think that looks pretty good. We can actually take pinch, as well. Woo. Let's turn symmetry back on for pinch. Let's pinch these edges. Nice. Pinch the top as well. And one thing we can do to make this a little stronger is voxel remash it. So I'm gonna box remash it again at 175. I'll take smooth, and I'm just going to lightly smooth this. Nice. Okay, so the only thing that's a bit different to me is the head is a bit further down on this. But I think we can go ahead and adjust this and maybe move this down. So I'll take the gizmo and move that down. And then I want to take the head and everything connected to it. But unfortunately, I was a dum dum and didn't label everything. So let me go ahead and label these. We'll take this mirror and label this hands. The head I'm going to put up top. Where are the horns? Horns are here. We'll move those up. The horns are above the head and we need the eyes. We'll bring those up. And we'll name the mir eyes. This mesh is the cape. So I'm gonna go through and label everything because it'll make it easier moving forward. Let's save. We're happy with the horns, we'll go ahead and validate them. And we'll validate the mirror. Now the horns are validated. Head B, head A, horns, eyes. I think we can validate the eyes as well. Let's go ahead and just validate these. We'll take all of these. I'm going to take all the head, go to Gizmo and I'm just going to bake it. Okay. And the reason I'm baking it is so now all of these are going to be in the center, where they should be. Apparently, this isn't. So let's see. Let's see if we do pivot, center pivot. If we go all of these and do center pivot. So it was I was just showing the last location that the gizmo was, but it was actually in the right spot. Once we did pivot center pivot, everything should be centered. So it was just trying to trick us. So we'll select all the head and just move that down. A bit. Maybe there. I think that's good. I think I want to I might want to adjust this. Now, you can do this if you feel it's necessary. I think I want to adjust the head slash helmet piece to maybe come down a little bit. Let's see how it looks. Maybe in the front. I feel like it doesn't want to come down in the front. There we go. Push that side back up. Maybe bring this down. I think the back looks pretty good. This I can also take a move really big and just move this collar point in a bit. I think that's good. And part of me wants to use flatten. This is just a little extra. Part of me wants to use flatten and just kind of flatten this out for some reason. I'll solo it so nothing else gets in the way, and then I'll just flatten out this edge. Sometimes I just do things that just feel right for no reason. I'm gonna take move, and I'm also gonna move this part out a bit and maybe move the bottom part in. I want to make this a little sharper, so I'm just going to use move and just kind of sharpen that up a little bit. Push that part up. Noise. Make sure you don't have any gaps like this. I'm going to move this just a little bit so that gap so there's no gap there. And Okay, good. I'm gonna save this. And now for the mouth. So we just need to figure out how we want to actually shape the mouth. And since I'm on this arm, let's go ahead and validate the arm. Let's validate the cuffs. They look good. I think everything else I think everything that's validated, we can validate the legs. Validate that. These cuffs. I think everything else is good. Yeah, we're good. So next, we'll just come back and figure out what we want to do with the mouth. 9. Mouth & Buns: Okay, so let's give him a food mouth. He's going to get hungry. I think I want to do a boolean for this. And also, don't forget that to adjust this part of the head, just use mask quite big so it's nice and smooth. Just remember to kind of adjust so that the so that there's still that equal rim around the edge. I kind of want I kind of want to bring a nice flatten around that, too. We might flatten that later. We'll see. And these looks like they popped out a little bit, and that's okay. Oh, did I bring them together? I did. If that ever happens, if you bring something together, and then you decide you don't want it together, super easy. Just take you know what? I usually trim, and then I work on one and then mirror it, but there's an easier way to do it. You can actually take the gizmo, so we're on the eyes, and they're one piece. But what we can do is instead of group, we can just take vertex. And I believe I believe we can, no. Am I wrong? No, maybe maybe we do symmetry as well. Am I I'm not crazy. I knew it. So vertex and symmetry. Now, let's do pivot, center the pivot points in the middle, though. That's the only problem. We can take pivot and move it over. Let's move it over to this I. Alright? And then we'll uncheck the pivot. So then we should have control over this I. Yes. So that's a huge help for us. Let's bend it this way a little bit, too. So that's a huge help for us. We might have to come back and edit these eyes later. So just remember, if you have two things, now they're still on the opposite side of the world. So that's kind of why that works because remember, there's local symmetry, but then there's just like the project symmetry. So just remember vertex and symmetry, and you can still adjust the mirrors, even if they're just one piece. Okay, let's go back to Auto. Let's figure out the mouth. Let's add a cylinder for now. And let's just try to I'm going to try to stick to that shape because once I start trying to be a gunslinger and I'm just kind of going off on my own, then you know, I start then I start really losing the plot when I'm trying to, like, make a tutorial. Alright, so we just made this cylinder small, and I just moved it in front of the face so you can kind of see what I'm doing. So let's go ahead and make this into a square again. So we tap these three dots and we bring the division X to four. So the division X is four, and we can turn smooth shading off. So just go to the material, which is that sphere, and then turn smooth shading off. There it is. And let's rotate it. So let's do Snap and 45, we'll rotate it once, 45. Perfect. So now I don't think we can bake it yet because we can't bake because we haven't validated and we don't want to validate it yet because we want to be able to use these cylinder tools. So I'm going to make the top bigger and then I'm going to make the whole thing smaller. To me, that's what it feels like. It feels like that shape right there. I don't know why I'm being so dramatic. But I think that looks good. I think that looks good. I think it's time to validate. And I think it's time to take Gizmo and bake. Now, remember before the same thing happened. The Gizmo still shows the previous the previous what's the word? Orientation. But let's do pivot, center, pivot. Now we're looking good. So now we can use this piece. Let's just name it mouth X. Now we can use it to cut out we can do a Boolean cut out of the face. Let's move it into the face. Let's go back to front and let's shrink it down because it's pretty small. Maybe something like that. It's actually a little bit smaller. Maybe something like that. It doesn't have to be exact, so it can be however small you want it to be. So smooth shading on, and then we'll take this shape, smooth shading on auto. It looks crazy, but let's see what happens. Boolean, Boolean. Still looks crazy. Okay. The mouth is only eight vertices, so that's very, very small. Let's take the mouth and just give it some more resolution. So let's voxel re mesh it. And we're gonna get rid of it, so I'm going to just do 200. I'm going to take this, and let's voxel remish this as well at 200. Okay, we got a little bit of gritting going on, which I'll just smooth out. First, so now we have the head yellow and the mouth X, and we'll hit the little eyeball for the mouth X. Again, if you have any issues, you can go down here and tap advanced and uncheck sync visibility. So remember, once we have two items selected and one with the eyeball hidden, we can use Boolean. So Boolean, Boolean, and there we have that perfect mouth. Okay, so let's add his little tongue in there. So this is now the head yellow. And then we can add a little tongue. So we'll just add a almost want a little square tongue. I kind of want a square tongue, right? I feel like a square tongue would be better. I don't think I've ever used a square tongue. Feel like it feels like it fits better. And sometimes I just like to do things out of the box. I'm going to bring the resolution down on this, so I'll tap here and we'll do our post subdivision to two and bring the division X down. I'm going to make this bigger so you can see what's happening. Actually, I'll solo it and we'll bring division X down just so it's a little bit of a softer cube. Maybe at three. I'll validate that. Yeah, I feel like that's exactly what. What I wanted. I like it. And next we can just start box will re messing things together and just kind of making him whole and linking up the different parts that are the same color. So let's just do a quick save. I think he looks good. So the first thing is just kind of solidifying these pieces. So I'm going to validate this I can't believe I didn't validate that. I must have forgot. I want to make sure that the sizes are a little bit high, so I'm going to be subdividing most of these. Tap on the body first, make sure it's validated. We'll tap here, subdivide twice. I think twice as good. We'll take the arms. Make sure that's validated. I'm validating the mirror. Now we hit we have the arms, and let's go ahead and tap the pyramid multi res, and we'll subdivide it twice as fine. Now we need this, which is the body and the arms. Let's just put them together. I'm going to actually nestle them just so I know where they are. So we have the legs, the legs in the box. That's right. We have this part too. Okay, the box can come out because that's one single piece. Let's take the legs and validate. Perfect. We'll take the box. Well, that's separate from this box. Legs mid will bring up to where the legs are and the legs let's do Multis subdivide. Legs mid Let's see. Let's vax well remish that first. So we're going to vox remish 200. Now these two I'm going to connect. Connect all these pieces. And then his little bum, which we really won't see that much. But let's make it a little bit longer. Let's subdivide it like we did the other ones. That should be fine. And we'll connect these two. These are all the body Arms. Okay. That was a little silly of me. Let's put the box, the legs mid, the legs. All these parts are going to be black, so let's take these and let's vax re mesh these together. One important thing is the front, we want to be solid solid is not the right word. We want it to be straight across. So I'm going to take these legs, use move, and I'm just going to kind of move them so that they're a little bit more flush with this piece. Okay. That looks pretty good. So we'll take all of these now and just vox or remesh them together. I'm gonna do around 200. Perfect. So now we'll just take smooth. You can smooth this out. Smooth out his little backside. I guess I probably could have trimmed a little bit of that off, huh? I want to take move and take this and move it forward. Just so it sort of is a little bit more in line with the shirt. I think we can just take flatten. Let's solo this part. Let's just take flatten. And let's just kind of give him a little bit of a a little bit of something like that. So it's not so it's not so egregious. Okay. So just a nice little flatten, I think we'll work wonders and then we'll just smooth it out. I think that should be good. Let's hit solo, and that's much better. I'm going to take the back part of this with move and I'm just going to push it in. So it sort mimics kind like the curb of our backs. I think that's good. You can even take this. If it's still feeling a little too much, you can pull it up a bit. I think that's good. I think that's nice. I think the under part is okay. I don't think we'll really see underneath there. So I think that's fine. Let's take these pieces and let's validate them. Arm cuffs, we can Let's add a little bit more. Let's go to the arm cuff. Oh, we validated the arm cuffs, didn't we? So let's just validate the whole mirror. Arm cuff, feces, we can validate hands. So we have this separate piece for the hands. Let's give that its own mirror that's gonna be its own color. So let's just name this hands, accent, something like that. And then we have hands, and we'll validate. Perfect. Okay, let's save. 10. Dynamo Detailing: Alright, we're doing well. We're pretty close. So if you're like me and you're worried about this line here, which I think looks pretty cool. Let's actually, it kind of looks like it comes down. Let's use crease invert. Let's make a crease here. Straight across, and maybe even here from the leg. It's kind of cool. You can do something like that or again, we can take pinch and we can pinch across. So you can pinch straight across. I don't think we can I'm not sure if we can kind of get a pinch. Oh, yeah, we can. So we get a little bit of a pinch there. So that's nice. I'm gonna go ahead and voxel remash this piece again. I'm gonna do it higher at like 250. I really want to try to lock that in. And I want to take smooth and I want to smooth above try not to really mess with that beautiful crease we made, but I still want it to look very smooth. Nice. I like that. I think that worked. This also bothers me that you can see the underside. So I'm just gonna tilt it a little bit, make sure I'm not carving through the back. And what do I mean by that? Let me hit solo. I don't want to carve like this if I take trim, because if I try to carve it straight, it's going to carve the whole back. But if I do like this, then it's only going to carve that underp which is bugging me. We'll look at it like this. We'll take trim line. I'll put it down a little bit more. We'll take our line and we'll just trim right down. There we go. So let's see how that looks. It looks a little sharper, I think. Some little vax will remiss it again, probably do around 250. It's a bit high, but I want to make sure that I'm locking these shapes in. We'll do a little bit of a smooth. I think that it looks good. Nice. It looks like the top needs to be pinched, so just keep an eye out for, um, you know, some areas that you might have to go back over with pinch or something like that. I'm constantly Oop. I'm constantly making sure that everything looks the way that I want it to look. Sometimes it just takes forever, unfortunately. Okay, everything looks good. I feel like I want to move this up a little bit back here. I'm trying to make sure to show you, like, all the little details that I do. Oh, you know what? This back looks a bit weird to me. So I'm actually gonna move it forward. I'm gonna move the top out and this forward. Okay, that makes a little bit more sense to me. I'm gonna push down. In the middle, I need to make the move smaller so I can kind of push down in the middle. Okay, I'll smooth it little bit. That looks nice. I'm gonna clean up this edge with pinch. Think that looks nice. Let me solo it. This looks really lumpy here. I don't I'm not a huge fan of that, though. Let me try to smooth all this out in here. It looks a little lumpy, so I'm gonna use clay and I'm just gonna kind of clay over it a little bit and smooth it. Okay, that looks a bit better. I'll take move and kind of move this up, as well. Those little details really, really, really matter. Um, I'm always trying to pay attention to those little details. Even things like I want this to look Okay. Looks good. I'm gonna vox remish it again and then kind of smooth out because I just touched. I just kind of made some edits, so I'm going to smooth that out. Maybe I'll take pinch. Just kind of pinch the middle again a little bit. Okay. Okay, that looks good. This was a really difficult piece. But that's how, you know, sometimes it takes those really difficult pieces kind of to really get it. I also don't like how this separates. So I'm going to use clay. I'm going to add some clay here to kind of bridge it a little bit, and then I'm just going to smooth it. Okay, I think that looks better. So let's save. Alright, cool. I'm pretty happy with this. Oh, we need to ox remiss these together. So let's take the body and the arms, and let's just vox remiss them together. Oh, we can do 250. Oh, but do we want to? That's where it gets tricky. We could always try booleaning them together. If we take both of them and hit boolean, then we just get, that's a little bit better. It's a nicer cut. I'll smooth out up here, but it's still a nicer cut, I think. It's a nicer cut down here or a nicer joining, I should say. Body. Everything else is good. These are black. Okay, we have the leg cuffs. They look good. I think I want to join them with the arm cuffs. Let's see if we can subdivide them. They're a little low. So let's subdivide them. Arm cuff leg cuffs. And let's just join those and just call them cuffs. The box is the legs. Okay. Everything's looking fantastic, so we need to join the head and the horns. They're both very high, so I'm going to save. Make sure you save before you do very heavy voxel remshing. Let's remash this at 300 and just see how it looks. I might do it a little higher. I might try it at 4:50, see if we can keep those lines straight. They're pretty straight. Let's check out the horns beforehand. They're very small. So let's subdivide. This is high. Now the horns are much higher. Let's turn smooth shading off. And now let's see what happens if we take these two and put them together. So with vox remshp that was the wrong one. We want to take head horns and horns and vox remish around 450, and let's just take a look C. Okay. I think that looks good. Turn symmetry on because now this is symmetrical. We can smooth smooth out these horns a bit. I think they look great. If you want to, you can use flatten or pinch. Maybe pinch is the move here. Take pinch and pinch this edge. I think pinch is the move. Just gives you more of that crispness back. Merry crispness. I'm I'm gonna have to figure out a way to name a video that on YouTube. Merry crispness. Maybe maybe ways to paint really well defined things. Okay, this good. The arms are together. The cuffs are together. Okay, so now for this I put it down angle it. I think that's good. I'm going to take drag and I'm going to drag the two ends into the cuff. Maybe move is better. We want it to be nice and smooth, so move is probably better. So we'll push it in and then we'll also pull push, pull. We really want to get these sides in and do something like that. Make move really big, maybe push this out in the middle. Okay, I think that looks good. Will you smooth a little bit on this? Kind of smooth it out. Okay, that looks good. Okay. And I want to check out all this is. Let's turn smooth shading on just to see what it looks like. It looks okay. It looks better off. Part of me wants to add some details back here. You know, I'm always adding details. Let's add a cylinder and just make them really small. We'll use a snap, turn them this way and kind of make them like they're like, little connectors or something. Let's use mirror. So I don't know, let's see if it works. Just kind of rotate them so that they look like they're kind of connected. Kind of keep them sort of level with the collar. I think I like that. I think I like it. So I'll validate them and call it cape. Let's validate both of these. I'm just gonna Let's two pivot center pivot. Okay, that's good. Cape Uh, connects. Okay, save. Cat me think of anything else cool I want to do? Remember, you can do whatever you want with this guy. So, um, have fun a little bit and experiment before we hop to the next video. I really like fins, so I want to put a fin on the back of his helmet. So let's go to the horns, which is now the helmet. Let's make it the helmet. I can't believe I spelled it like that, like the designer. We'll add. What do I want to use here? Let's use a cylinder. Let's use Gizmo. I'll bring it up. We'll do snap so I can turn it on its side. Okay, we'll squash it. Shrink it. I'll shrink it this way. I'm thinking something like this. I think that's what I want. I'm going to validate it because I think it looks good. Then I'll just use move and figure out exactly how I want it to look. In my head, it was kind of long. Yeah, a bit like that. But it had a harder fall off on the bottom, so I'm going to push this up, maybe even pull it down. Yeah, I think something like that is what I had in mind. Okay, that looks good. I like that. It just adds a little something, you know, a little flavor. All about the flavor. Okay, so let's add this to the helmet. Let's just call this helmet. Finn. Nice. 11. LitPBR & Lighting: Okay, and I am going to add two little cylinders for teeth. I just wanted to warn you. So let's find this add cylinder. And this will be the same thing that we always do. I'm just going to bring it up, bring it forward. Snap turn it this way, Shrinky ink. Okay pull it together, shrink it a little bit more. So it's tooth size. Tefi sized. We'll go like this, mirror, pull it apart. And I think that's all I want to do. Just add a little bit a little bit of a tooth. Part of me does want to make it a little sharper. No, I can't lie about that. Let's just validate it. Let's take drag, and let's just see if I want to give him little some little fangs. Et's make sure that they're moved up. And I think those are keepers for me, so I'm gonna keep them. And I'm going to go ahead and validate these and call them fangs. Okay. Good. So now let's finally go ahead and light them. It looks so good. I'm very excited. I don't know what this thing is there for. Sometimes it just pops up out of nowhere. Oh, there's another thing we can do too to make painting. I forgot this step. Let's take the pieces that are going to be the same color. So the helmet, what is the box? The box is the tongue. So we want the helmet, the body. Let's just go ahead and join these for now. Those are going to be the same color. Helmet fin, Cape. I don't think anything else is going to be the same color. What else is the same color? The body. This will be the same color as the hands. So we'll join that. Oh, the fin helmet fin, and the Oh, no. Uh oh. Problem. The problem is that the body. Okay, so it's okay when they're joined together. The helmet fin and the hand accent. I'm gonna join those. Those can be the same color. The hands, I can't join with the body though, because the hands the smooth shading is off, so I need to keep that off. I can put them up here next to the helmet. Cape neck I think the cape connects can be we'll keep it separate. We can color them. We can color them separately. Let's change it from Mat cap back to lit PBR. You have to do that in order to color it, and light it. So Mt cap back to it PBR. And we'll just set a base tone for now. So I'm going to use you want to use some sort of let's select everything. We'll tap here, we want to use some sort of neutral color. I kind of use a terra cotta color, and we'll just paint all. I like the darker one. So we'll paint all. Looks great. We'll go to our light, turn environment off. Look at that grate. That looks so good. I have to export this. Okay, so let's now add our first light. So we add light, put the light to two. And let's hit a line. So the light is we can control it with the Gizmo. We'll move it over and up this white arrow is where the light is pointing, and it's pointing in the perfect spot right now. Okay, so this lighting is looking good. Let's go to our lights, and let's rename it key. This will be our key light. All right, so let's clone the key light and we'll name this edge. This will be our edge lighting. Let's hide this. Let's take this and move it over. So now we have our cloned edge lighting. I'm just going to bring it down to about here. And now we can rotate this. Oh let's take it off of snap so we can rotate it freely. So we want to rotate it so the light is coming from behind. Let's take it off of a line so that way we can rotate it in the orientation of this white arrow. So we'll use the red ring and the green ring because we want just a nice sharp edge. That's perfect. So let's bring this to five. So we're bringing the power of the light up, as well. Maybe even ten. Let's just go crazy. Okay. So now we need to make an R two and a D two, two more lights. We can actually use the first light. Let's clone it. Oh, then it goes right underneath. No, I have to continue the way that I always do it. Let's clone this one and make it R two. And let's go back to a line, and let's just bring this light back straight over. This is going to be the secondary light pointing to this side. So we just need to take the green ring and rotate it. It's really bright, as you can see. So we can put that down to maybe two. We can still see it. Let's make it. Let's make it cool. So we'll change the color to a bluish color. Look a lot. And now we can take the edge light. Oh no, we'll take R two. We'll clone it, and we'll name this D two. We'll make the light white. We'll change it from a sunlight to a spotlight. Let's move it over. Now, this matters where we put the light. So we'll bring it up. Let's turn a line off. Okay? And now we'll rotate it. And let's put it kind of here, but let's back it up so it's a little higher. Yeah, something like that, I think, looks good. Maybe we'll make it a little warm. We'll do something like that. And maybe we'll make the other light a little warm, too. So let's go back, go to our Edge. We'll go to Edge and make that a little warmer, as well. Perfect. So let's save. So that will be saved. I'm actually gonna save it again, so I'm gonna do Save as. New. Red Rascal two is fine. So then I can continue with this new one. Okay, so let's turn on post process, so we get a good look. And you can take a look at my settings. Everything looks pretty good so far. Might do bloom, so you can get a little bit of a shin there. Looks very pretty. Okay, so that looks great. Now let's go to the light again and let's bring in our environment. So we'll tap here. Of course, we're using my custom environment. If you don't have this, just tap here, Import, photos, make sure that it's on your device, find it, and then you just add it here. And then you'll be using the same invite. And this is in downloads and resources. Might be a little bright. I'm gonna turn this down so that we still get a nice shadow on the left side. Okay, maybe 0.85 or so. I think that looks great. So we'll save this. And now let's, let's go ahead and color this guy. Once we color him, we'll be good to go. I'll show you how to do a turn table, and he's pretty much good to go. All right, so this is red. And we'll just make this really simple. You want to use this line or this sphere with a line through it. We'll make that red. And let's do this. I'm going to open this to this side so I don't block what I'm doing. Okay, so let's check this out in red. I think I like this muted red. So we'll do paint all. And this is f7595. A. If you want to use these exact colors, but you don't have to. Is anything else red? Oh, the hands are also red. And now, these parts are yellow. I don't know why I didn't join those. So the collar and the cuffs, let's see if I can join them, and everything still looks good, yep. Oh, and the head yellow. I'll color that separately. So now let's find our yellow color. Okay, nice bright yellow. That's looking good. We'll use the same for the head. Although the head looks a little bit lighter. That looks a little bit more accurate. So we'll keep it like that for now. These are black. Okay. That's good. Little tei fis I could get them. These little fangs. Let's let's go ahead and let's do pivot center pivot just to get that up there. And then, we can't bake, so I guess it's fine. So let's make those white and then the tongue. The tongue let's actually just use this. What I just did was, if you use the paint, this is the eyedropper, you just use that and you can drag over any color you want, and it will capture that color. Then we go back into it, paint, and now the tongue is painted. These can be the same color as the eyes. Again, I'll just use the eyedropper, tap here. Now we're still selected on the pants, then we'll just paint all. Look a little they look a little uh Maybe I want to lighten them a little bit. I like that kind of charcoal look. So let's go with that. That looks a bit better. The feces. Let's do pivot center pivot. Okay? They look a little bit darker and a little bit more glossy, so I'm going to turn the roughness down. And then paint. And then the only thing we forgot is this. So I'm gonna go back into paint, use my eyedropper, and then grab this part and go ahead and paint that. It looks fantastic. That looks good. So did we save a Oh, we did save a view. So here's the view. I think it looks good. Let's open it up a little bit more. This looks a little bit more accurate. Is our view. Although we can probably put it in perspective as well. That looks pretty cool. So I'm going to go ahead and go to this little image and get rid of the reference, and I'm going to update this by pressing this little arrow pointing down. This will update our view. So that's one. Let's try one with it on Orthographic. So let's just add view, and we'll name this two. And I really like the front view, which is what we lit for. So we'll put it here, and we'll save that view, as well. So the little camera ad view, and we'll just name this three front. Okay, perfect. So the only thing left is, let's do a nice turn table for this rascal. Oh, wait a minute. I got so many lights back here, I didn't color these or the cape. The cape, I feel like should be red, but maybe a darker red. I don't know why. And these I think I may want maybe they should be Black. Maybe they should be this color. Oh, no, let's make them yellow. Let's make them the same yellow as this. Now, let's just paint all. Perfect. Oh, I love that profile, too. Profiles so pretty. But I think I want to fix the lights. So the only light that won't get fixed is this light. But I think I want to fix. So let's go to the lights if I can remember where it is. So we'll go here. Let's go into the key. Let's go into the settings and attachment. I think we want camera. Edge, camera, R two camera. This is the only one that we can't map to the camera. I'll hit a line and we'll move it. I don't think I can move this two. Let's see if I can reset it. Move it straight up. We'll rotate it and point it straight down. Let's move it up a little bit. And we'll point it right over his head. So that makes it kind of interesting. So let's go back to the front view. It looks good. So I changed the color of the background just so it was something that really made the red. Pop, pop. And I also change the RT light to a similar color to the background, and I change the edge light to a similar color to the background. It kind of ties your character in when the lights can kind of feel like they're coming from the surrounding area. So just a nice little little touch that I made. I can probably make R two even a bit more saturated. But I think that looks pretty good. So now at export, just go to your folder, go down to render. If you want to render it with the background color, then just go ahead and leave both of these unchecked and you can hit full screen or whatever size that you want. If you want it just to be a clear background and just the character, then you just go ahead and hit transparent background. But I'm going to turn that off because I want to do it with the background. And then you just hit down here Export PNG. And this will cycle through whatever you have set in your post processing, the number at the top. Minus at 3:50, so it exports at 3:50 samples, which is just I think 300 is good. Probably 200 to 350 is fine. I'll just export. I'll use Airdrop to send this to my computer. Tap with four fingers to have everything go away. Let's check on our post process, make sure everything is on. Beautiful. Tap with four fingers. Oh, let's save. Tap with four fingers, tap the nomad icon. Tap with four fingers, tap the Okay, tap the nomad icon. Sometimes I have brain farts. And if you're on an iPad, I'm going to scroll down from the top corner here record, and then go back here and make sure it's on zero, zero, zero, and then hit Turn table. And that's a good size. So I'll leave it there. It's a super awesome character. I'm really happy with it. I hope that you guys had fun and you learned a lot. Making characters like this and trying to having to problem solve is the only way that you'll learn to create really cool characters and learn to be efficient. You just have to try to run into all the problems that you're going to have really that's all art is, is just a series of problem solving and being able to solve them as efficiently as you can and as quickly as you can. 12. Blender Prep! : So let's bring this character over into blender. This will give you really amazing renders. So the first thing that we want to do is make sure that we don't have any layers, which we didn't work with in this tutorial. But if you're making a character, you want to make sure that you flatten all of the layers on any of the pieces. But we didn't work with layers with this one, so don't worry too much about that. So let's go into our scene. We don't need the floor. So we can delete that. We don't need the cameras, so let's delete that. And we don't need the lights. So I'm going to tap on all the lights and delete. So all we need is just the raw figure. So let's go ahead and bring our grid back. It's a little hard to see. So I'm going to go to here and just bring this color down so it's darker. I'll make sure I hit front. Okay, so now we should see this red line, and you can see that he's right he's perfectly lined up with this red line. So that'll be great. When we export it over to blender, it'll be right where he's supposed to be. So we can turn the grid off. So the next thing we want to do is make sure that everything is baked in its spot. So what that means is when we send it over to blender, the origin of each of these pieces, like, for example, let's say, the head and the body, the origin will be right there in the middle. So that's what we want. So let's say I go to these cuffs and everything. The origin is in the very middle. You check here, you can't bake it. If we go to the eyes, and we check here. See, the eyes is off to one side. I'm gonna go pivot center pivot, and then bake. So each of these pieces, see how the gizmo is kind of off. I'm going to go pivot, center, pivot, and then bake. Okay, but it looks like it's good. So I probably didn't need to bake because I should have did pivot, center pivot first. If we look at the legs, pivot, center. It. We can bake that. Then we have the cuffs, we have the feet. Everything looks good. Pivot center pivot. Let's just check out. The helmet is good. Hands. This is the yellow head. Let's make sure pivot center pivot, bake that. Fangs looks good, pivot center pivot, tongue, pivot center pivot, and we'll bake that. And I think that's all of our pieces. So nothing else we should need to bake. Oh, let's right the cape. Pivot, center pivot. And we'll bake that. Cape connects. Hands accent. Pivot center pivot. Oh, that's interesting. That's very interesting. What solo that? Oh, with the thin. The fin. That's very interesting. I'm going to go ahead and separate this, let's tap here and separate. We have the fin, and then we have these two hands. I'm going to join together. And bake. I'm gonna unsolo. And this will be the fin. So all of these together, I'm going to join again. And you can just join in with the hands accent. Let's delete this and just Okay, so now everything is good, so we'll bake that. Legs is great. Cuffs are great, and feces are great. Okay, so everything is in its proper optimal position. So the next thing we want to do is just go to our folder, and we don't have to save it because we can save it in nomad when it's all lit up and pretty. So we go down to export GLTF and then we'll export this to your computer. Blender you use on a PC or Mac. So make sure you have blender downloaded and we'll just export it to whatever computer that you're going to use Blender. And blender's free, but you probably should know that by now. So I'll export this to my computer. Okay, perfect. So then we're good to go. I'm gonna discard the autosave and just um I was just too new, get it set up for whatever the next thing I'm gonna make. 13. Welcome to Blender!: Alright, so welcome to Blender. And let me start out by saying Blender is a very complex, and there's so much depth to blender. It's gonna take you a while to really wrap your mind around it. You're gonna have to watch a ton of tutorials. But I'm gonna try my best to make it as simple and painless as I can. You won't be able to see my hands like nomad because it's mouse and keyboard. Okay, so once again, I'm using a PC so if you're using a MAC, then you're gonna have to substitute some of the key strokes because Macs and PCs are a little bit different. So they're a little bit different and you're going to have to figure out those small differences. And sometimes they will take a moment. So try not to get frustrated. I had to learn it on a mac when all of the tutorials are on a PC, so I had to figure that out, so it can happen. But if you really if you really get into blender, eventually, you want to get a PC, it'll be easier to work and easier to follow along with tutorials and things like that. So once you open blender, you're going to have a little splash screen, and once you say, Okay, exit out of that, then you will have this screen with your default cube. Alright, so if you have your mouse to move it around, you hold down the mouse button. And then you can move everything around. If you're on a mac with a track pad, I believe you just do this with two fingers, and then you can move around the screen. And you'll easily be able to figure out how to zoom in and out. With the mouse, you just use the scroll wheel. So we're seeing this red line. This is the same red line that we used when we export it. So this is the one where our character is standing on it, and that's why he's standing on this red line. Then we know that it'll be level. So the first thing we want to do is go up to file, excuse me, go up to Edit and preferences. And add ons. So go to search add ons and search Node Wrangler. And we might not use the node wrangler here, but every tutorial that you look up is going to use the node Wrangler. So you might as you'll just get it now. So node wrangler, and you can make a check. And I believe the settings will autosave. Once you make a change, it'll just save that setting. But you might want to double check that, but I'm pretty sure that's default. Also, if you are using a PC, one key piece of information that would have helped me a lot, or even if you're using a MAC, you want to go down to system and you want to make sure that you're using the cores or the GPU. So Macs have the metal, so you want to be using that. So just go to whatever the setting is that's using the GPU cores. I'm going to be using the optics. I'm using a GFce. This is what's in MPC, so that's what I'm going to use. But you have to go here and check this or else it might use the CPU, which is really, really slow. So make sure that you do that. So we can close out of the settings for now. Oh, there's one more thing that I want you to do for the settings if you're using a MAC, especially if you're using a laptop, then you have to go into input and then go into let's see. So for your keyboard, you want to do emulate Numpad. So that's if you have, like, a laptop. Like with my Mac laptop, I don't have a separate the numbers aren't separate. The numbers are on the top row. So that's useful. Actually, even on my PC, the numbers are also on the top row. I don't have a keyboard where the numbers are off to the right, so I have to do emulate Numpad. And I think that's it for now, so we'll close out of that. The next thing is so we'll start over here with this little camera. Blender has two different render engines. There's EV, which is kind of a more cartoony, like, less realistic. But if you press the scroll down, then you have cycles, which is going to be more realistic. I'm just gonna put mine to cycles because I always work in cycles. Also, I'm going to change the device from CPU to GPU compute. Again, this just will point to your GPU instead of your CPU. CPU is always in most cases, really slow. And let's see. I'm going to go down here to okay, everything else here is good. So now I'm going to go down to this little output and just check it out. This is, like, your size of your canvas and things like that. Let me go back up. So again, make sure you go to your render options, which is this little camera here. Make sure that the device is set to GPU compute. Also, you want to go down to here DNOis. So this is the render settings, and this is the viewport. The viewport is what we see while working in Blender. The render is what we'll see when we export it. So you want to make sure that the Denis, and then you put Hughes GPU. So just make sure that all these options are at GPU. And also, let's change the viewport Max samples to 200. If you have a slower computer, you can put that number lower. For MAX samples for now, just put it to 200. And again, if you have a really fast computer, you can go up. Like I might do 1,000. If you have a slower computer, you might have to go down to 50 or something like that. This is the samples that we will export with. And you'll notice that I don't change mine, and it's only because I missed that the first time I recorded. So I had to go back and make sure I made this change so that when you're going through this tutorial, your computer isn't trying to sample 1,000 samples for the viewport. Let's just go to Render and set the MAX samples to let's just do 200 for now. That should be good. Everything else you can keep the same. Okay, let me just go down here, make sure there's nothing that I'm forgetting. Think everything is good. But this bar over here, this is pretty much all your tools that we're gonna be using for all different things. Okay, especially this one. This is the materials one. We're going to use that a lot. You can see here this is the material. This is the material that's on our default cube. You can rename it here. Let's just rename it cube. I actually like to use blender in the animation tab. So if you go to animation, it should give you these two windows like this, which I think is great. So this window is showing the camera settings. This window is just showing, like what we were seeing on the other screen. So if we go back out to layout, if I wanted to do the same thing, if I wanted to open up another screen, you can do that. You just go up to the corner to where you see this little these four little lines, and then you just tap and spring it over. And this is how you open a window. Now, this is something that's really confusing because it's really easy to accidentally open up multiple windows, and Blender doesn't have an easy way to close those windows. It's a fantastic application, but there's certain really simple things that it just makes very difficult. And this is one of them. So in order to close the window, so for example, I have this one open, and I can drag this one over this one. You see the arrow. The only reason I can do it is because this window is the same size as that one. So, for example, if I open a new window here, then I'm not able to do that. I'm not able to open the whole thing. The only thing I can do is make a whole new big window here. So I know that gets really confusing, but I wanted to show you this because that was one of the most annoying things that happened when I opened blender. I was following a tutorial and opened a window, and then you just wind up opening 1 million windows. So let's just go back to blank. I'm gonna go to this one, and then I'm just gonna go up because they're the same size, and that's fine. But for practice, let's open up a new window. So we'll just open this up like this. So now on this side, let's say we wanted to make this what the camera is actually seeing. So this is the camera, and it's off center. As you can see, they kind of have it off the center. This is a light. But if we want to see what the camera sees, then we just press zero. So I'm on this side, and I press zero, this is what our camera sees. If I was on this side and I press zero, it's the same thing, but I'm just going to move it around to go back out of that view. Okay, so let's say we wanted to move the camera to the center. So let's say we want to move the camera right here so that it's looking like dead center. So when you press the camera, there's these controls over here. So let's say we take this one, which is the transform tool, so then you see your gizmo. Obviously, these are kind of just all these are kind of all wrapped up in one, scale, rotation, and, you know, up down left right. So I'm just gonna use this one So we need to move it over. So this is very similar to nomad, and you can see it's moving in the camera. You can see what the camera seem. So let's go over here to this little arrow here, and we'll bring out, like, the locations. So this is the location, this is the rotation. So these are all the numbers of all this stuff. Blender is full of math. It's full of numbers. And eventually, you just kind of have to get used to it. So obviously, you can move things around, but you can also move them here. So, for example, I'm moving left and right, and you see that number changing. So let's just say I put this to zero and press Enter. So now it is exactly on the center thing. Even though the camera's pointed the wrong way, it's on that center line. So let's say we want to look at it straight on like we were in Nomad. Let's press the number one. So this is a shortcut, so now we're looking at it straight on. But we need to rotate it. So I'm I'm just going to move around, go back to the camera. We need to rotate it. So let's find the rotation we need. So this blue ring, tap on that and you can rotate it. So now you see which one is handling the rotation. So if we put this to zero, you can see it's pointing directly forward now. So that's pretty good. Et's bring it down. We'll rotate it up a little bit. Now we're in a pretty good spot. We can back it up a little bit. And we have a pretty good pretty good point of view. Let's say we want to make this box into a backdrop. So we want to make a backdrop for this character. So I'm going to tap S, and then I'm just going to move the mouse around. So S will scale things. So I'm going to make it around this big. I'm gonna hit one so I can just have a good view of it, and then I'm gonna move it up to around the bottom of that line. Okay, that's pretty good. So now I want to use this box to make a backdrop to make, like a photography backdrop. So one cool thing about blender that you can't do in nomad is you can control all of these edges. So if you go up here to the right, to the top right, and it's the same thing here, right now, we're looking at the solid view. So if we go here, this is the wire frame. So now we're just seeing the edges. This is the material, which you can't really see anything now because we don't have any materials or anything up. And this is this is the actual shaded shape, but it doesn't look good now. So let's just go back to We can actually go back to the solid mode, so just go back over here. To this white sphere. Let's go back to the solid mode. We want to select this edge. So on your keyboard, hit tab. So now we're in edit mode. So edit mode is different because in edit mode, if you look up here, right in the middle, you'll see edit mode, and you'll see this one is vertices. So this is like each point. This controls the edges, and this controls the faces. So just like it sounds, the faces is just like the faces that are showing. The edges are like these edges that connect them, and the vertices is each little point. So let's say I want these two vertices, I'm going to press Shift, so I can select two of them at a time. And now you'll see that these two vertices are selected. And I could go to here, and if I wanted to move these, I can move them around. I could press S and resize them to make different shapes and such. Okay, so let's make a simple backdrop. So we have our cube here. Here's our camera. You can press one on the number pad, and you can see that it's lined up with the red line, so that'll be our floor. Okay, so let's tab. We're still in edit mode. And let's go to vertices. So this is the first option here. And we just want to select the vertices. So let's just tap off of it so that the whole thing isn't selected. And you can select one. Now I'm going to hit Shift, and then I'm going to select this one, these two. So now we have these two vertices. So these two vertices are connected to this edge. They're connected to this edge. Obviously, the edge going across. They're also connected to this face and this face. So let's just hit X. And then you can put vertices. So then it just makes this shape here. So we like this, but if you look in the camera settings, it's not really hitting the left and right side. So there's a few things we can do. We can either bring the camera forward or we can make this a bit bigger. So let's leave the camera alone for now. Let's hit tab. So we should be in object mode. And then we'll tap the background. And then let's stretch it with this little red box here. So we're just going to stretch it until it fits. So I think that's perfect. Now we also want to bring this edge up more because you can see in our camera the bottom is not completely to the edge. So let's go back into Edit mode, so we'll hit tab. And you're gonna wind up doing that a lot going back and forth, edit mode and object mode. So here in edit mode, we'll select the edge. And then we'll select the physical edge. And now we can just use this tool to just move it with the arrow so we can move it. So now let's tab back into Edit mode. We should be on edge. So we'll grab this edge. So we grab the middle and we're using bevel here on the left. And now we take this little yellow knob and we can pull it. So we'll give it a nice bevel like this. I kind of want to bevel it until the bottom is right around there. So now we just have this plane that's beveled. This little window should pop up. As long as you haven't clicked anything, if you did just just undo hit Bevel again and go through it, because for some reason, if you click on somewhere else, this window goes away and then you can't get it back again. It's really annoying. So for segments, that's how we'll get the curve in it. We're going to add segments, and then it's going to round that straight plane out. So let's just press right. And let's do we'll do eight segments. But another issue is, you can see here that it's very it's coming forward a bit too much. So we can take the shape right here. It says 0.5. And you can adjust the shape. Let's move it to the right and you can adjust it so that it's a little more the bottom surface is a little bit flatter and this back isn't coming forward so much. So I think that's pretty good. I'm just going to tap anywhere off of our backdrop, and I'm going to go ahead back into Edit mode, so I'm going to hit tab. And then I'm going to right click and then Shade Smooth. And on the Mc, I think right click is clicking with two fingers. Then I'm going to hit Shade Smooth. And now we have this smooth backdrop that you can see in this angle. You can play with the other numbers, too. Like, there's other views that it will go to that it will snap to. And as you go up the line, you'll kind of notice what they do. So let's go over here to the top right to this sphere. You can see the rendered settings. And there's also a shortcut. So you can hit Z as in zebra or Zebra, as some people say, so you can hit Z, and you'll see rendered solid material wireframe. We were in rendered. I mean, we were in solid, excuse me. If you hit Z, wireframe, hit Z, rendered. So now we're looking at the rendered view. Which is perfect. So let's tap one. Let's tap one. And then let's bring in our sculpt. Let's just get right down to business. So go to your file and hit Save. And one other important thing if blender crashes on you because Blender does crash often. So if Blender crashes on you, open back up. You can just open up a new like, where it has the default cube, open up blender again, and then just go to recover and then go to AutoSave. And then you'll see you can look at the time, whatever the last autosave is, that'll be the closest to your project. So it's pretty good about that. I think it saves every 2 minutes. So if it ever crashes, just open up a new a new project file, recover, and then autosave. Anyway, so let's go back to file. Let's go down to Import. And then let's go over and down to GLTF. And we'll click that. And now we have to find our file, which I'm not sure where I put it. I might have put it in GLB files. So I sent this from my iPad to my computer. And do I not see it here? I don't. So you just have to bring it to your computer. Okay, let me figure out where this is, and then we will be right back. 14. Import into Blender: Okay, so I went back into it actually is here. I think it's actually in this folder. But let's just start again because I know that can be confusing. So I'm going to go into File, Import, GLTF and GLB files, and then I just have to find Red dynamo. So I'm going to tap Red dynamo. Remember, this is the GLB that I exported right from Nomadsculpt, and then we're going to hit Import GLTF. Okay, there we are. You can see that he is level with the floor, which is great. And the size is actually pretty good. I'm being honest, the size is great. So we're just gonna leave the size as is And usually, the first thing that I do is I'll right click and I'll hit Shade Smooth. Now, the only tricky thing is, I think some of the items, some of the parts, we didn't use smooth shading. So if something is if something has used smooth shading and nomad, then you can smooth shade it in blender. But if something is shaded flat and nomad, so no smooth shading, then you don't want to use shades smooth and blender. So, for example, if I hit smooth shading, everything looks good so far. I guess I guess I smooth shaded everything. Yeah, everything looks pretty good, so I must have used smooth shading on everything. So just be aware of that. If you bring something over and it's flat and nomad, like, there's no smooth shading, you want to be careful in blender. So we'll keep it at that. So over here on the right, you can see, these are all of the objects that we just imported. What I like to do is go all the way up here to the top right to this little collection tab, so I'll tap that, and it makes a new collection. And I'm just gonna double click on it and call it red dynamo. Okay, so red dynamo. And now I'm just gonna tap on the first one, shift, tap on all of them, and then drag them into Red dynamo. So now I know exactly where they are just makes it easier to have them bundled together. Okay, so let's back up a little bit. And usually, let's switch these. So if we want to make this one solid and this one rendered, remember, we can just put our cursor on the one side. It's Z. This one, I'm going to go to solid. And this one, it's Z, and I'm going to go to rendered. So now we can see what our camera sees. And now this one we can kind of move around and do what we need to do. So right now there's only one light. It's right here. Okay, so this is our light. And, of course, anytime you click the camera here, this option is going to change into camera settings. And the only one that will probably use is the focal length, so you can adjust the focal length. Like so. And then also, I like to use depth of field. So if you tap that, you can adjust the depth of field to make the background blurry, things like that. But I'm going to leave it off for now until we get to that point. So back up to the light, you have four lights here, so you can adjust them as you need. I like to use area lights. So let's tap area. It's super bright. And I'm just gonna use these controls over here. And for now, we're just going to bring it over. I'm gonna put it on the opposite side of him. So, literally, same as nomad, I'm just gonna move this around. See that orange beam. That's where the light is pointing. I'm going to use this green ring to swing it around this way. Okay, so let's adjust the shape of this light. So it's an area light. You can barely see it right now. So we're in our light settings, and let's just bring this up. To one. Let's bring this up too. So now you can see it a little bit better here, and now you can adjust it as you need. So let's say we just want to make it wider, you can just adjust it that way. It's very bright. So let's turn the power. We'll tap on the power and let's make it 400. Okay, that's a little bit better. So now just adjust your light so that it can be sort of coming down A little bit more on him like this. So here's a few things that are going to help with that. So right now you can see the Gizmo is not really, like, lined up with how the light is. So in order to get the Gizmo to be on the same to correlate with the light, go up here. So instead of default, just go to local. And that should be make it a little bit easier. So now I'm just going to kind of move in this direction, and I'm going to rotate it. I'm going to make it a little bit shorter, and then I'll use this red arrow to bring it over, and I'll use this green ring to kind of put it a little bit more on him. So, something like that. Let's make it a little bit more down. You can see the shadow will be affected by this. So I think that's pretty good. Move the light back some. So now let's get him all in frame because we can see that's a big issue is that he's kind of at a frame. So let's back up here, tap our camera. And now, let's adjust the camera to him. So we can move this up a bit. And remember if I wanted to move it straight up, I'd have to go to Global, and then you can move it straight up, straight back and forth. But we'll stick to local for now. So now I'm just gonna lift it up and you can see it in our little frame there. So you can just adjust it until it's what feels good to you. I think I like that. I might bring it a little bit more forward. I think that looks good. Maybe down a little bit. You could even get fancy and do something like this. I think that's good for now. I'm gonna try to adjust the light so that we can kind of get all the shadow in. So I'm gonna try to adjust the light. Oh, okay, so it looks like it's not really going to matter how I point it. Let's see if I physically move the light, then it'll physically move the shadow. Okay, I think that looks pretty good. Okay. Alright, I like that. I'm gonna make it a little bit less bright, so I'm gonna go here to the light settings here, I'm gonna put this on 200 instead. Okay? That looks a little bit better. So obviously, lighting, if you go up to your lights here, you can turn this off, and you can still see your object, which means that there's some ambient light in the scene. So this controls the ambient light. So right here, this is like the seen world. I kind of looks like it kind of looks like the same icon as the materials. You'll probably get it confused just like I do. But right here, just look for world. So there's the color, which obviously you can adjust the color. And you can adjust how strong it is. So, for example, you can put it down to zero, and it should be black. There's no ambient light in the scene. You can turn on your light and see how that looks. You'll notice there's two of these. This is your viewport. So this is what we're seeing now, the viewport. The second one is the actual render. So if you have this on but not this, say for this light, it's going to render out looking like this. What I like to think about at first, anything that you do here, just do for both. Don't leave one or the other, because then it'll be confusing. So just click them both if you're going to take something away or add something. Okay, so we have one light here. So let's go up. Let's actually add a folder of just lights or a collection. So we'll go up here to the right. We'll tap, and we can bring this up. And let's just name this Lights. Okay, we'll take this light. We'll move it up into that collection. Okay? Now let's add a new light. So let's hit Shift A. And again, you must have your cursor here on one of the screens. So Shift A. And then let's go down to Light you don't have to hold down Shift. Once you hit Shift A, this menu will pop up. You don't have to hold it down. We'll go to light, and let's add another area light. Okay, so now let's just use these directions, and we'll move it up. I will be here. And let's point it towards him. So let's just make sure that that orange beam is pointing towards him. And sometimes things might disappear. That happens a lot in blender. So if you go up here and you have to check these things. So right up here, I'm not sure what the name of this is. Let's see. Show overlays. If you tap that, then everything will kind of disappear. The cameras and things like that might disappear. So just remember if the camera ever disappears, it might just be show overlays. And again, if you wind up hitting something, let's say you're on this and you wind up hitting something, and let's see. You could toggle the local view. So that's if you accidentally hit this, like, slash. So if this ever happens, and you're like, Where did everything go, just go to View. And you can go down to Local View, and you can either toggle Local view or you can go to view and then hit frame A. That will also that should also bring everything back. But those two things drove me crazy in the beginning, so just remember, earmark those things. Okay, so let's play with this other light. Let's bring it down. Oh, that looks good. So now let's hover over the actual light size and looks like it's a square. So let's go into the light settings here. And let's change it from square to rectangle. And let's just stretch it out. That looks good. And let's make it instead of ten, let's do 30. Okay. And seeing the bottom here, I don't really like that too much. So I think I'm going to make it a little shorter and move it up with this red arrow, I'll just move it up a little bit. And maybe I'll move it back, so it's not so much in the shadow. So I'll move it back, and I'll make it a little thinner. Here we go. I think that looks interesting. Maybe I'll make it a little fatter. I like it. I like it when it's a little more soft hitting here. Okay, that looks good. And for this one, this one might look better as a circular light. So we'll just go into the light settings for that light and change this from rectangle to ellipse. Okay, nice. And also, let's go back into the world settings. And I just want to put this up to maybe like five. Okay, so here's nothing, but I want to bring it up. I don't think I want to bring it up to one. I think I want to bring it up to, like, five, six or seven. I'll leave it on I'll leave it on 50.5, excuse me, 0.5. I think that looks good. Okay, so we can probably I think he looks great. So we have two lights here. Let's duplicate this light and put another light maybe somewhere else. So right now I'm on this screen. I'm just going to hit Shift D. So hit Shift D. So now it's duplicated. You can move your mouse around and you can see the other light. Of course, you can also press Z X or Y if you want to move it in very specific directions. So maybe where do we want to put it? Sometimes these look great. I'm just gonna move it manually. Sometimes these look great with a nice rim light or edge light so you can put the light behind. And then you can rotate it to get a nice edge light on one side or the other. Maybe on this side. That looks pretty good. I'm gonna make the light a little thinner. It looks great. So there's a nice edge light there. So that looks that looks really nice. And let's say, Well, just like we do in nomad, let's go up here and rename these. So I'm gonna rename this light by double clicking and just calling it dgeight. Edge light, right, it's on our right, so that'll make it easier. This light, let's just name this key. This is the first light that we put that's over his left side. And this one, let's just make two. So that's on our right. It's just shining from his right side. So another thing that I like to do is, let's add another light. So Shift A. We're already on lights. Let's add another area light. And let's just shine it on the backdrop. So let's move it up. Shine it towards the backdrop. We'll go into our light settings here, change it from square to let's do to rectangle. So then we can kind of make it a little bit bigger. Okay, let's figure out where we want to move it. Okay, so we'll put it there for now, but it's acting a bit funny because we don't have proper material on this. So this is a great time to work on the materials. So we have our light set up. Let's now work on the materials, which is the surface of all of these objects. 15. Blender Materials: Okay, so as far as materials go, materials are the surface of any of these objects, even the background. And I just want to note that over here, you'll see I have Blender kit. Blender kit is a free add on that you can add to blender. So just go to blenderkit.com and you can download Blender Kit, but it will show you the steps to enable Blender kit, and it will show up. Right here. And what that allows you to do is just use different materials. You can go to categories that allow you to use different materials for your sculpts. So my advice would just be to go download it now so that you'll have it. Yeah, maybe I'll show you a few of these later. But for now, we're just going to stick to the regular materials. So let's tap on the helmet so you can see that the helmet is selected. Whoops. I'm using the wrong keyboard. So you can see that the helmet is selected. And right now, let's go to the materials tab, which is right here. So if we tap on the materials tab, you see it says material zero. So let's tap on there, and let's name it Dynamo reed. Okay, so now we have Dynamo red and we have all of these options here. So right now, we can't change the color of it. That would be the base color. And that's because we brought over the color from no MD. Of course, we can change the color, and I'll show you a little bit of that. So I'm gonna go down to the bottom and you can sort of lift this up a little bit. And you'll see this sort of again, I'm using the animation tab, so that's why that's there. If you are using something else, like, Oh, no, I'm in layout. This is animation. But if you don't have another window here, you can you can do like we were doing before and just Okay, well, we can do that. You can drag up and just make a new a new window. But I'm gonna get rid of this. I'm going to take this one, make it the same size as the other one, and then I'm going to drag this over just to make it one long thing here. So Blender has what's called nodes. Nodes are probably one of the most confusing concepts. But if we're in the bottom here and you see this little option, if you tap that, you have all these other options. So let's just go down to Shader Editor. So if we tap Shader Editor, these are nodes. I'm going to try to keep this as simple as I can. So right now, this color attribute, this has come from nomad. This is what's telling the base color that this is red. So this is coming from nomad. The principled BSDF that's just your base color. So that's what this is. Material output. This is the material that we're seeing. So right now this is red. This is the material output. And the way nodes work is this information goes to this information, goes to this information. So I'm not that well versed in nodes, but you can have a ton of these things over here, and they all go into there and you can make it look like cloth or leather or wood. There's tons of different things you can do in blender. We're not going to get that deep into. But if you wanted to change the color, let's say if you want to make this a different color. There's a few ways you can do it. You can just take this, just hit X, and now it's white, and now you can change the color here and you can change the color here, so that's, like, unlocked, and you can adjust the color. Okay. I'm going to hit Control Z because I like the red that it was. Principal BDSF is the same as these options here. And we'll just go from right, this menu here because that was easier for me when I started. So metallic obviously will make things more metallic looking. Roughness obviously makes things more rough or less rough. And I think we'll just worry about those for now. I'll make it a little more rough, just what kind of looks like plastic. And then you have subsurface, which we also have on nomad. If you want to work with the subsurface, you would just use the weight and the scale. So just bring the weight up and the scale up. And you can see it's already kind of getting clear. So we have the eyes. I'm going to go right over here and change material five to black eyes. Okay. And now I think I want to make these a bit shinier. Well, we still can't see them. The light's probably not in the right spot. So you can adjust it to make them as rough or as glossy as you want. I think I'll leave mine around there. The legs are a bit glossy. I'll change this to legs. And let's make them a little more rough. So we'll bring that up. It's about there. That looks good. And this yellow, I think I'm going to make this a bit more rough. Okay, let's turn them around and take a look at the cape. Actually, I'll do it on this screen. So we'll tap on the cape. I'll rename it cape. And the reason why it's good to rename these things is you can press this little button here next to your material. If you tap that, then these are all the materials in the project. So if you wanted to use the dynamo well, it's actually kind of confusing because, for example, dynamo red is what we set the helmet, but you can see this is still black here. And that's because we didn't change the color in blender. The color is coming from nomad. So that's that's why it's still black. Since we're talking about it, let's take the cape And let's go ahead and hit X on here. So we'll get rid of that. Now we can adjust the color. So we press the white, and now we can make it I think we had it like a darker something like this, but a little bit darker, so I'll make this a little bit darker. I want to make it a bit more rough. Okay, I think that looks good. So now when I go here, you can see that the cape is actually red because we adjusted it here in blender. I think that looks good. Okay, so now we have these. Maybe I'll put the metalness up on these for fun, and I'll put the roughness up a little bit. And these can be cape buttons. Okay. Now his little shoes, which are separate, maybe I'll make them a little glossy, a little glossier. Like the reference, the hands, I'll rename them. And maybe we want to make them a little more rough. I think everything else. Well, this is the hands accent. And maybe we want to adjust that to be like the buttons are. So let's press this, and we'll do cape buttons. So it's not gonna change the color, but it'll change the metalness to match the cape buttons, cause I think that's the only thing that we changed. Okay, so the face we'll just call this yellow face. And, of course, you can do this at your end pace. I'm going a little quickly. But once you get the hang up changing one material, then you can just pause and go through and change all the materials to whatever you'd like. I think I want to make the face a bit more rough. That's good. We'll go to the teeth. There we go. And we'll make the teeth glossy, and the tongue will make a little rough, and we'll leave that as is. And I'll just name this yellow cuffs. Okay. So now I'm gonna hit zero again to go to our camera view and we can see what we have. So I think that looks great. Let's also press the background because we also need to give that a material. So we just want to make sure that we're in the material tab. Or you could also go down here and just hit a new material. It's the same. So we hit new. You can see that the nodes pop up. And let's make the base color. I think white is good. Let's up the roughness. And the reason I rough bring the roughness up is so our lights and stuff won't really have a glare off of it, but you can experiment with that, bringing it all the way down to have a nice glare. And, of course, if you wanted to adjust the color, you can do that. I think we made a kind of an aquamarine color. So we can do something like this. And again, one of the notes that I gave you in No MD let's zoom out of it here. This light is the edge light. So this light is coming from back there, and you can see, now that we change the background, probably what I would do is adjust where this light is because I don't like how it's a harsh light coming from the back. So there's things like that that you should pay attention to. And also, I don't know if I'm going to keep the background this color. But like I did in Nomad, I might change this light by hitting the color while on this light, I would hit the color and kind of match it. Uh, 'cause that kind of will bring everything a little bit more together. But I think that looks good. I like it. One thing that I like to do. So in nomad, if you've taken any of my classes, you know, I have the eye glare that I always use for my sculpts. So if I want to have a glare in this one, I'll have to move the light to the correct spot, which Let's see that didn't work. Multiple importance. Let's go to these eyes and kind of figure out why this isn't I'm not seeing too much of a glare. So let's do this. If I really want to glare on this, let's hit Shift A. Let's add a let's add a point light. And let's put it in front of the face. Oops. Okay, let's go back to the point light. We'll put it over here. So now we can kind of see it. Okay. I just had to make sure I was still in cycles. And another quick note, if you want to have a light, but you don't want it to have a reflection, you can hit multiple importances. And we're actually seeing the light. That actually wasn't the reflection. Let's hit area. And let's increase the size of the area light. Let's make it a rectangle, let's increase the size. Well, I can kind of see it there. There we go. I can kind of see it there. So now we can see a bit of a glare on the on the eye. Let's change the color. We'll change it to this, maybe kind of match that. So that's a bit more interesting, I think. So if you have other eyes, especially eyes that are spherical, you can experiment with bringing lights in front, bring the different shaped lights, and you'll get that shape in here. I'm just going to show you an example. I'm going to hit Shift A, and I'm going to add a mesh. I'll add a UV sphere. I'll move it up and forward. You don't have to do this. I just want to show you. I'll press S. I'll make it small. I'll right click and hit Shade Smooth. I'll go over to the material tab. I'll add a material. I'll tap the color, and then I'll drag this down to black. And I'll drag the roughness down to zero. And this should show you how I get those lights on, like a pupil or an eye. So now you can see you can have a better, you know, view of what this is actually doing on a sphere. But since the eyes are flat, it kind of looks like, it doesn't look as That's good. So I just wanted to show you what it would look like on an actual sphere. So I'm going to hit X to delete because we do not need that sphere. This is the original key light, which I think I want to bring this down. Let's see what it looks like at 100. So I'm using this bigger key light up here, and I'm using this light data here. And then I tap the power, and I'm just gonna put 100. See what that looks like. That looks nice. I think that looks good. Maybe we'll split the difference and do 150. Okay. And let's see if I actually do want this. I like it. But maybe just a little bit less. So I'm on this point light now, and I'll just bring it down to, like, three or so. I like what it's doing, but I just don't want that much of it. And, of course, you can experiment. Maybe you want to make the helmet so you tap on the helmet. Maybe you want to make that glossy. That's kind of cool, too. So please feel free to experiment. That's how you have the best fun. The most fun by experimenting. Okay, this is coming out really cool. I like it so far. I just don't know if I want the blue background or if I just want the regular white background. Let's click here and let's bring this back to white. So I've clicked on the background. I'm in the materials tab, and I want to adjust the light. I think I kind of like this beige. It just feels a bit more natural to me. I like that beige. I think the feet are a little bit too glossy, so I'm going to make them a little bit more rough. On the feet, I'm going to take this light. And I'm going to turn it into change the color so it's a little cooler. Or maybe I'll just make it white. I'll turn the saturation down on this color, so it's just white. And maybe I'll take this one. And there's another option that you can do with the light, the spread. If we tap that and change it to 90, then it's not gonna be so bright on the side. It's gonna be more focused in the middle. So, the fact that it's more focused in the middle, you have to turn it down, turn the power down. So I'm gonna put it to 50. And I think that looks that looks a bit better. Yeah, that looks nice. You kind of move it around, make sure you have it in a place that you like it. That looks good. I'm also going to adjust the world. You go back to the world, and maybe you want to make it brighter to see if you like it better. See if we put it on one, what it looks like. Still looks good. So I'm pretty happy with this. I think I want to change this yellow. It looks a little bit too mustardy. So I'm gonna go back into the materials. And we'll change the color attribute to RGB, and then we can adjust that RGB to whatever color we want. Don't forget to bring this all the way up. Oh, I think something like that looks a bit better. I'll make it a little oranger. I think I like that. I think that looks good. Okay, so I'm pretty happy with what we have. The only the only other thing I want to do is, I feel like his face isn't quite bright enough. So I'm going to change this light to a point light. And I'm going to physically move the light in front of his face. I'm just going to go ahead and change from local to global, so that'll just make it easier for me to move it in front of his face. And now I'll go over to the light settings, and the radius, I'm gonna raise that up. See that orange ring. I'm gonna raise the radius up. I'll put this at ten. Okay, I'm gonna go a little bit higher. Little bit here. Okay, I think that looks good. So now I just think he's a little bit brighter, and I really like the way that that looks. Let's go to our edge light, and let's change it from blue, so I'm in this back light here. Let's change it from blue to like. Maybe a warmer color, something like this. Okay, I think that looks good. I'm gonna check the position of it. And remember, since I don't want this to be so harsh down here, I'm going to change the spread to 60. See how this is much softer? I think that looks better. We also have this back light. So let's tap this light. Remember before when we were dealing with it, we hadn't set the material yet. So let's pack it up. Let's put it up a bit higher. I kind of want it just on the top with a backdrop. Yeah, now I can see it a bit better. I'll make it a little bit smaller. You could even move it back and see what it looks like if some of it catches his helmet. Whoops. Rotate. I think it looks nicer on the back wall. Let's change it. Let's change this color over here on the right to maybe something a little bit warmer. Okay, I think that looks pretty good. Okay, so now it's always good to go through the lights and just make sure that they actually look good. So right now this looks a little bit too bright. So I'm going to bring this down to ten. And I think the reason it's too bright is because, remember, we changed the spread, and I'm gonna open it up. That'll make it a little softer, as well. The bigger a light is, then, like the softer an area light, the bigger it is, the softer it will be. So I'm going to take this down to five. Okay, I think that looks good. I think this looks really good. So I think that we learned a lot about lights. We learned a lot about materials. I think in the next video, I just want to show you some tricks with a node. Now, we'll keep it really simple with the node, and I'm going to show you some other materials using Blender kit. And maybe I'll show you how to use emissions as well with blender, because I think those wind up looking really nice in Blender. So great job for now. Let's finish Up Strong in the next video. I'll show you a few things and then we'll export render. Our render. 16. Finishing Touches: Okay, so I was playing around with this file, and I'm just going to show you this with the nodes. So let me just X these. So I chose the red, and I deleted by pressing X, the color, the attribute that was there. So now we just have the regular color. So the cool thing about nodes is, for example, if you're in the node window, hit Shift A. Okay, so let's go to input, and let's go to RGB. So RGB is just colors. So if we plug this in to the base color, then we can control the color. So I put it all the way up and maybe we'll put it to red, something like that. Make this a little bigger. Okay, and we'll put it to this red color. So, I like to add things like ambient occlusion. So let's press Shift A. Okay, input ambient occlusion. So now, once we click on that, we have this little node that we can plug in here. So I just dropped it. I clicked it in between these two, and this color connected here, this color connected here. So now we have some ambient occlusion. And if you look at the distance, so if you look at the bottom, the bottom of the chin and near the arms, that's where the ambient occlusion comes into play. If I go to distance, and then increase the distance. So that's going to add a little bit more shadows to it, the ambient shadows. So this is something that I like to do for all of my materials, even the floor. So if we take the floor, so for the background, we already have this color here. Let's see if we can just plug in an ambient occlusion node. Shift A, input, ambient occlusion. Then we just tap here before I connect them, and I'm going to match this color. So I'll click here. I'll click on the eyedropper, and then I'll grab this color. So let's try it now. Okay? The colors are the same. So now let's try distance. So you can see the shadow getting a bit darker there. So this just enhances your ambient color. So you can choose to do that with some of the other materials. Maybe I'll do it to this material here. So we have the color node. So this is for the face. Shift A, let's see if we can input the ambient occlusion right here. Perfect. So we can hit distance, and then we can see that shade coming in there on the face. It's these types of little things, these little details that really make it fantastic. So another thing I want to show you is blender kit. So if you have Blender kit and you figured out how to load it, you can tap, let's say, the yellow, and Blender kit is right here. You should have a little search bar here. Let's turn the little eyeball on. So right now we're in models. We need to go to materials. And then in materials, you have all of this. I'm just going to put in the search yellow. Okay? So we put yellow. So now we have these yellow elements. So let's say this one, the yellow pebbled leather. So we'll click on that, and that changes to this, which doesn't look that exciting. So I'm gonna choose a different one. This looks kind of interesting. Quilted leather yellow. So as you can see, you can find some really interesting things. This is a great way to use Blender kit that has tons and tons and tons of these things, so it can really be helpful to make some interesting to use some interesting textures on your sculpts, and they have tons of them here. I'm just going to hit Control Z until we get back to regular. Okay, so just to reiterate, you download Blender kit from its website. And then I think once you have the zip file, I believe all you have to do is go into Edit preferences, add ons and then find Blender kit and check it. It will show up here. And once you tap that, you can use materials and just make sure to open up the categories. And for search filters, I usually go, if you want to use the models or something, just make sure you go free first. So it'll show the free ones first. But the materials, they're all free. So the next thing I wanted to show you was how to make something emit light. So let's take these yellow bits, and let's say we want to make them glow yellow. So we want to go to the materials tab over here. Go down to emissions. So we have the color, and then we have the strength. So we're gonna have to match the color. So let's tap there. We don't have to match it, but we can just make it yellow. And then we have the strength. So then you keep going, and you see it glowing. Now, obviously, the lighter it gets, the whiter it gets. So you might have to adjust this and make this as dark as you can. It's a little tricky to get a yellow blowing too brightly. If you really want it to look yellow, then you just can't make it so bright, 'cause then it starts to turn white. So something like that. And, of course, if you're gonna do a glow, you have to adjust the lights so it will be a little bit more visible. Okay, so that's emission. So you just tap on it, and in the materials editor, just come down to emissions, and you have to adjust the color and the amount. One of my absolute favorite textures is to do some sort of edgeware. So in blender kit, I can go to materials. Let's go up to the top bar here and type Edgeware. Oops. And make sure you toggle this little eye. So then you have all these little edgewares which are great. Let's try this one. And then you see you have that really great texture and edgeware. We can go to this one. Maybe we'll try the yellow out and get the dirty black. You can do the same thing with the eyes. So it just looks completely different in a matter of a few clicks. So as you may have noticed just now, my framing was off, so I have to start back here. So the next thing I wanted to show you was the camera settings. So let's zoom out and go to our camera. And I wanted to show you how to set the FSTop. So if you want the background to be blurry and you only want your character to be in focus. So you want to go to your camera? Camera settings here, and then depth of field. So the main thing is, you want to adjust your focal distance, your focus distance to be so you want your focus distance to be the eyes, the teeth are kind of on the same, but usually you want to focus on the eye. So you want the eyes to be very, very clear and in focus. So that's your focus distance. You can, of course, set the eyedropper, and then you can set the eyedropper to something that you want, as well. But I find that it doesn't always work that well. So what I like to do is not use the object and just set it by eye with the focus distance. So then you go down to F Stop. And the lower the FSTop is. So, for example, if it's at F Stop three, it's at two, the eyes are still in focus, but then the horns are out of focus. So that's a very shallow depth of field because this layer where the eyes are is the only layer that's in focus, but once it gets far enough to the horns, then it still puts them out of focus. And the higher you go, the more we'll become in focus. So if we go up to 1.5, the horns are more in focus. If you go up more, then more behind him will be in focus. So I'm going to put this to maybe, like, I think eight is fine. Okay, so that's all I wanted to show you with depth of field. It's always good to kind of use that to make it look a little bit more like photography makes it look a little bit more realistic. Okay, so let's now export this character. So first, we want to go up here to the render settings. So we're over here on the right side. We'll just make sure that it's in cycles. In the samples you want to be around 200. This is just the viewport. So this is just what you're seeing now. This is another thing that you can adjust. If your computer is really struggling, if you hear the fans when you're just moving stuff around, you can set this a little bit lower. You can set it to, like, 50 or something. Again, this is just what shows up here. These are your viewports, and that's that. If you go down to render, this is the render settings. So these samples really matter. You can set yours to about 200 or 300. The higher you go, the better quality, but the longer it will take to sample those frames. I'm going to put mine to Um, I'm gonna do 1,000, but I would recommend going like 200 to begin with. You can see how long that takes, depending on your computer. Also, you want to make sure when you go down to Denois, you want to make sure that you have US GPU. Okay, and that's pretty much it. The only other thing if you go here, your size is probably 1920 by 1080. If you want to raise the size, I have a four K size, so you just tap here, and then you can go up to the four K size, 21 60 P. That's what I have. 21 60 P by 38 40. And it'll actually keep this same frame because it's the same it's the same size square. It's just the resolution is just higher. So it's just much, much bigger. But we're going to keep it here. And then you just go up here to the render settings. And then you can render your image. So I have mine in such a large format that it renders in sections. So it's going to do this first section. It's going to do 1,000 samples of the first section, 1,000 samples of the second section, and then section 1,000 samples of this small section on top. Again, I would recommend going like 200 samples until you see how fast or how long your computer will take. Okay. And now we have rendered or clean rendered image. So I'm going to save image, save and I'm going to set this one to B. I actually did these before, but now I'm re recording. So I'm going to I'm going to do this B, and then maybe a baby A. Okay, and we'll save image. And that's how you save your sculpts. We can go ahead and hit this X to get out of the render view. And again, one of the really fun things to do is adjust your lighting, adjust your backdrop. Let's say I set the backdrop back to white. Let's save this. I'm gonna set the backdrop back to white. I'll go to the lighting settings. Okay, that one's white. This one I'll set to white. I'll just turn the saturation down. So you can just go to all your lights and reset them, bring the saturation down. By bringing the saturation down, it just takes all the color out of it. Go to this front light. Okay? We need to change the color of this. Thought we changed it, but I guess not. Let's take the saturation out. Nice. Don't forget there's this world here, so we can go to world. You can put this on one we can maybe raise this up a little bit to make it brighter Smre like that. We'll add a little bit of brightness to this key light. So we'll go back to the key settings, 100. And of course, I'm just doing this to show you how you can, you know, adjust and kind of play around with your sculpt. I'll put this on 50. I should be pretty bright. Nice. Let's make the background a little bit brighter by adjusting this back light. We'll put it to 50 to start off with. And maybe we'll move it back. I'm seeing that. Oh, well, there we go. We'll make it a little bit bigger, and then we'll make it a little bit brighter. Let's go like 300. Maybe that's a little too bright. We'll set the color of the background to, like, a grayish. Okay, so now we have a much brighter scene, which I like. Okay, so here's just a bright version. I'll render this version as well. So go to Render, Render Image. And it still looks dark back there. I'm gonna minimize it and double check. Ooh, see, this is what I did. I didn't have this light selected. So but I could tell that the lighting was different than what I set. So that's what I was saying. You really have to pay attention to what you're rendering. We can go to the render tab here, and this will pop up our render, which is still rendering. I just finished. I'm going to go back to the layout tab. I'm going to make sure this is on, and I'm going to take this light, Shift D, and then I'll press X to move it on that constrained and I'll just brighten up this side of him as well, why not? I'll bring it a little bit further over and maybe I'll turn it a little more towards him. Get it a little brighter. So now I'll render this. Oh, and one last thing I have to mention if you're ever trying to work with nodes, and they just disappear and you're like, Where are my nodes at? Go to view frame A, and they will pop up. It's one of the most annoying things ever. But anyway, as you can see, I really like just playing with the lights and adjusting the lights. But as you can see, you can have a lot of fun with this, and it keeps me up late many a times, just kind of adjusting the lights and playing with the lights and having a lot of fun with bringing my sculpts over. So that's essentially how you do it. There's a ton more that I can show you. There's a ton more that you can do on Blender. But for now, I think this is a great beginning spot that's already a lot. I understand. I understand that it's confusing. But it's just the way that blender is. There's just too much to really get a hold on. You really just have to work as often as you can in blender, and you'll slowly get ahold of everything. But, yeah, save this project, experiment with things, bring your other nomad sculpts in. That's the only way to learn, but trust me, it's well worth it because these renders are amazing. I'm going to try to do some more shorter tutorials with things on blender, little bite size pieces, but I think this is good for now. Congratulations on finally jumping into Blender. Oh 17. Outro! : I just want to I just want to say, like, you should know if you got through this class and you've never worked in Blender before, it is an accomplishment. Blender is a nightmare. There's so much you can do, but it's really a nightmare. And the reason I wanted to do this class is because everything was for an intermediate blender user. For us nomad people, and I consider myself a nomad person, if you're coming from nomad, you don't know anything about Blender. You don't know anything about using a mouse and keyboard. It's just a different animal because I want to be that bridge that I didn't have when I was trying to go from nomad to lender. Now, the sky's the limit with Blender. You can do animation, CGI, things like that. There's a lot that you can do with Blender, but it's gonna take some time to learn. I'm still learning it myself, but I'm really excited to start this next chapter of being able to incorporate lender tutorials with nomad tutorials. Please tell me about your experience with this class and with working in Blender, because I really want to know where you struggled and what I could have done better. So in the next one, I can do better. Upload your renders, both nomad and Blender to projects and resources. I can't wait to see your projects. You sure to rate and review this class. That means so much to me. If you rate and review, I really, really appreciate it. Of course, you can let me know what you want to see more of, what you want to see less of, and just let me know what you think about this format and about combining nomad sculpt in lender. Also, if you're on social media, if you post this, I'd love for you to tag me. There's a much different way of sculpting and modeling in Blender that just doesn't exist for Noma. I'm still getting a handle on all of that, too, so make sure you check out my YouTube because I'm gonna be posting some videos all the things I've learned in Blender. So more of this kind of stuff. I'm gonna be posting usually probably little little tidbits of things that I learn in Blender, because I think that's the easiest way to go about it, 'cause there's just so much in blender. But I think that's all I got for this one. I look forward to seeing your class projects. Keep drawing, keep sculpting. I look forward to seeing you the next video.