Ultimate Beginner 3D Sculpting Course

1. Introduction: Hey, there. Welcome to the Skillshare course. I hope you are doing well. And let's get started into what we'll do in this course. My name is Sagita Sagita. You can choose what you want to call me. I've been a sculptor for the past four years and in three D for the past six, almost six. You can find some of my artwork on YouTube, where you can also find other lessons and vids on three D sculpting and three D modeling. Now, let's talk a bit about the course. This course is intended for beginner three D sculptors or three D model users, be it in Blender or any other three D modeling software. Who are interested in sculpting. Now, you should have a basic understanding of your software, but I'll be going over some basic thing in blender. We're also going to use PUF for references, which I'll show you how to set up. And those are the requirements for the class. I would suggest that you use a drawing tablet as a mouse will work, but will not give you the best results. As how you will learn, we'll start by exploring the workspace, the brushes, and the other tools that Blender offers us. If you are using another software, you can find the respective tool in your software. Then we'll start sculpting a human skull with a sphere. We'll understand the main details of the human skull, but also get a lot of principles of sculpting in general. After that, we will create a male head, a stylized male head. We'll be using points from our school. We'll end with talking about references and the best practices for picking the right ones and how you can work from references. And that will be the course. As for the project, we're going to combine everything we've learned by first creating a human skull, then sculpting a human head on top of that school, hopefully while using references. And this will allow us to see the shapes of the skull, the head, and how they connect. And that's it for the course. So let's get start. And 2. Workspace: There. Welcome to the first episode of this course. On this episode, we'll just be going over the introduction and how we'll set up the workspace. How I see the workspace is similar to how I see the kitchen. If I have a favorite dish that I want to cook, I would like to set up my kitchen in a way that I can easily pick up the dishes. I can pick up in the ingredients. But I can't necessarily leave all the dishes everywhere and the certain ingredients as I need to cook different things. So I set up the kitchen in a way that I know where my tools are, I know where the ingredients are, and that's how we're going to set up our workspace, in a way that we know where our brushes are, where our references is, and it will just make the scoping process better. But if we need blender for other things, we can then change our workspace. Since I haven't mentioned it, we are going to use blender for this tutorial, and we're going to use PUF for our references. Now, I'm not going to go over on how blender works. I would highly advise that you look up tutorials on YouTube, either be on Blender as a whole, or just how to navigate blender. As for sculpting, we'll go over on the brushes on where you can find each thing. So make sure to download blender. The newest version is what I'm working on, but you can also work on the older versions and PURF where we're going to put our references. Now, unfortunately, due to some copyright risk, I cannot show the references. So I will help you on how to find references. But since I don't want to share the artists work without their permission, I can't show them. After you've installed blender, you can go over it and open it. If you are opening it for the first time, it will probably look a bit different. So I would highly advise that you look up a tutorial. Now, when it comes to setting the workspace for sculpting, it is super simple. Just go over to sculpting. And 90% of our job is done. Now, before I go into how to set it up, if you want to learn the sculpting part with another application or you're interested in only seeing how to go over sculpting, feel free to use other applications and skip to the second episode where I'll be discussing brushes and find the Specific brushes in your application. Let's say the grab brush, that will be the Mu brush and Z brush, for example. Just find the specific brush in your application. If you are using blender, I would advise to watch both of these episodes. Now, when we find ourselves here in blender, the first thing that we'll do is exit out of this. I did that by pressing Control tab and going into the main mode or object mode. I'm going to press A and delete everything. Now there is nothing in C. Let's add a sphere. When you are sculpting, the best object or objects are those that are fairly simple. And for 90% of the cases, a sphere is probably the best bet. You can also use cylinders, but the sphere is quite a universal shape. With our sphere here, we're going to press Control tab again and go into the scope mode. You can also do this by going here, pressing sculpt mode. And we'll find ourselves here. Now we want to have as much place as we can for our skull. So as we hover on this tab, press control space, we have now maximized this workspace. If you want to exit this tab, just press control space again, and this can work with any tab here. Let's say I want to maximize this here, as you can see with my mouse, plus control space. Now we have a maximize this. If we want to go back, control space. Again, we want this area, so control space. Now, a very important thing that you should turn on or change is the perspective. Now I'll press N, and we'll have this tab here. Let's go to the view tab. What we have here is the focal length. This is basically the perspective or the way that you'll see the object. This number, I would advise you to go anywhere 80-120 ish, my preferred one and the one that you don't want to see too much difference with your scoll so you can use is 85. As you can see, there is a difference when I go closer to the object, and this just allows a more natural look to our sculpt. We close that tab by pressing N, and that's probably the only time that we'll have to change this. These brushes are really not what we're going to use. Or if we use them, it'll be super air. So to maximize my screen, I'm just going to close this. And boom. Down here, we have all the brushes that we use, and we could increase the stab by just pulling it. But we don't use really any of these. We only need the top. So we'll leave it like this. If you're using an older version, then they'll be here. So if they're here, I would advise that you do actually increase it like this, as this would allow for better selection of your tools. But since they're not here, let's just close it. The last thing that we'll set up here is the symmetry. I'll explain more of the symmetry on the second episode, but basically, it will allow us to sculpt only one side, make it symmetrical. Also, it's most likely that the settings here are like mine, but in case they are different, here you go. And the last thing for our workspace is our Purifi. So if you've opened PUF, we created a new file, simply grab it over here and place it on a corner that still is very visible, but doesn't necessarily mess with your main object. And here, we can drag images that are references and then build up our mountain or collection of references. I have my personal one which I'd like to share, but since I haven't really credited any of the artists as it's a personal workspace, I don't feel free to share it. But throughout the course, I'll help you pick out references, and you can create your own purifile. You can simply paste an image here or drag it, and you'll have a reference ready. I'll show you right now. I've copied a picture of a cat, and I'll simply press Control V and paste it here. Now I can scroll with my tablet. And move it around. When you are setting up your Purifle, I would suggest that you do it with your mouse as it's a bit less annoying. Not that it's impossible, and I usually do use my tablet, but it's kind of easier, as you can see, to set it up with a mouse. Before I should mention that I am using a tablet to scope, but if you do not have one, I would suggest that you first try to scope with your mouse. This will probably lead to not that great of results. But if you are not sure that you want to pursue sculpting as a hobby or professionally, then I wouldn't suggest that you buy one. But if you do want to buy one, you can find fairly cheap ones, even used ones online. I am using a Wacom small, I think it's called a Wacom one small. But you can find any good ones online, be it from WACOm from XB Penn. Just find one that is useful for other things if you do not want to pursue scoping. Now, if you do want to, then a tablet is a great tool for sculpting. If you are sculpting on a tablet as of a phone tablet or a phone, then you don't need to worry about this. Tablet settings. Go here. If you haven't tried a tablet before for blender, at least, then before experimenting, you can simply copy my settings here. And that's the main sort of settings related things. On the second episode, we'll go over the brushes and some other features of blender, which if you are using a different software, you can just see which are similar in your respective software. That is about it for the first episode. After the second episode, we'll start the actual sculpting with a skull, and then on the next one, we'll move on with a face and so on. Thank you for tuning in and see on the second one. 3. Brushes And Other Tools: Hey, there. Welcome to the second stunt on the scores. Today we'll be going over most of the brushes that we're going to use to scoop. We only use a few brushes, and they are simple to sort of get the idea of. Now, there is a lot of brushes which have specific functions and are super useful in different scenarios. However, in most cases, you're not going to use them, and I don't even know how to use some of them as they're not really useful for character creation or sculpting in general. If you need to learn them, you can simply look at what they do and use them. So to go over, let's increase the stab and see all of them. As you can see, there is a lot, and specifically with the new blender update, they've sort of updated them. I think they've just gave them a new look and some changes here and there. To start, I think the most important brush is the grab brush. You can turn this on by pressing G or by going here and clicking it. Three you can increase a brush's size by pressing F. And when you find your size, press F again or simply click. The strength can be changed by pressing Shift F and then press. I would not suggest changing the strength at least, but in specific cases, you do need to have, let's say, a slight smooth, so the strength does have to be lower, but these are specific, and if you have a tablet, most of this is solved. Now, you do have to use strength when it comes to painting, but we'll go over that later. When it comes to the size, I would suggest to go closer to the mesh rather than increasing the size of the brush. But it's completely fine to do any of those. With the grab brush, you simply grab parts of the mesh and you can drag them and create the form that you like. With Control Z, I'm going back, and I'm going to increase the quality or the geometry of the sphere. I go and scroll, and I want to have some high quality, and then I press Control R to confirm it. As you can see, this has way more squares, way more vertices, and things are a bit easier to control. At the start, you should always stick with very low geometry, but we'll explore these concepts on the later episodes. You can also change the remash by going here, changing the axel size, and pressing rems. As you can see, the grab brush should be the brush that you use specifically at the start, just to get the silhouette of the care. As you can see, you pull and push in, and so on. To move on to the second brush, we'll do the smooth. You can access this brush by pressing Shift and then S. You can access this brush by pressing S. And it will just smooth the geometry. It will get the vertices on the same ish level. Let's go here. And it's not necessarily flattening them. It's just getting them on the same ish level. It is basically smoothing. Now, if you are, let's say, on the grab brush, and you want to quickly access the smooth brush without going to the smooth brush, you simply hold Shift and S and are currently smoothing. Most of these shortcuts will become second habit, but at the start, you just need to get used to them. That is the smooth brush. Another very important brush is the draw short brush. Before that, let's go to the draw brush. With the draw brush, you are simply adding mass to your object. You are drawing volume onto your object. Now, the draw brush is a very defaulty brush. However, I don't tend to use it a lot, or I try not to use it a lot as it is a very strong brush in the sense that it gets rid of detail and you want to use other brushes that are sort of weaker in the sense that they don't change, or you don't want that inflaty and strong look on certain parts. That's why we have the draw short brush. As you can see, this is a bit more detail. Now, you might think that these are different brushes. Well, you simply press Control. And you'll get a more detailed draw brush. We're pressing control because the draw sharp is currently on the negative option, I guess. As you can see, there is a minus and a plus. If we go to the draw, you have a plus selected. You can simply select the plus, but keeping it on the minus is probably better as you'll use this brush to get rid of detail or scrape through your scope. And when you want to get the opposite, you simply press Control. So you are increasing. This is simply a more detailed brush of the draw brush, a more sharper brush, if you would say so. From that, we'll go to the clay strips. The clay strips tool is an amazing tool to add volume in a sense that it is more organic. As you can see, you are adding strips of clay to it. Let's increase the quality so you can see better. You should probably always be very slow on the increasing quality as your PC can't handle it, maybe. And it's generally not good to switch between geometry very fast. You don't know how much detail you are adding, so just slowly decrease your quality. But we'll see these later. As you can see, these are strips of clay. This tool is very good for the organic look of meshes, but also very good on adding mass or volume to certain things. With control, you'll get the opposite of it, or rather the negative effect of it. I'm just smoothing around here. And that is the clay strips brush. Another very important brush is the scrape brush. This will allow to sort of flatten the object and create those planes that we want in the characters at the start. As you can see, it flattens or scrapes the mesh. This is also a very useful tool for creating more stylized characters and mainly simplifying the scope. This could also be a very useful tool in inorganic sculpting. The last brush that will go over in the sort of more important brushes is the inflate tool. As the name suggests, you are simply inflating certain parts. Think of it as blowing a balloon. You are not necessarily adding on top, but exaggerating its volume. I like to use this as a very more subtle grab. As you can see, it sort of adds. And if you want the opposite, press Control. You can think of this as a bigger or more stronger draw sharp or draw tool, but it is just a bit more universal or general as it affects the whole structure of the mesh. Another important one could be the mask, too. Simply press M, and you can draw over your mesh. Now, anything outside of this drawn area is affected by our brushes. If we want to only affect this area, we can press Control I. Now only this mask area is worked on. If we want to get rid of the mask, simply press old M. And now we're back. This is basically the most important and often use brushes in blending. But if you want to try the other ones, feel free to do so. There is a lot of material online, and you can get a general idea just by simply using them. I would suggest to use these brushes that we just mentioned just to get a hang of how to press them on your device, how they look on a mesh, and those sort of things. When it comes to the other brushes, we mentioned at the start, we'll pull the tab. There is two brushes which could be generally used. That is the paint brush, which simply paints on your mesh. But this is more on things outside of scolting sets. A one that could be used is the trim or line project one, which we draw line, and it will cut the part under the grade out area. Now, this could create some complications within the edges and vertices of your scope. So I wouldn't suggest to use this. And if you do need it to have a more flattened area, you use other tools at the start of your mesh creation. Before we get started into the actual sculpting in the next episode, I'd also like to talk about symmetry. Symmetry is very straightforward. We'll go on the Y axis and we'll like to have symmetry on the X axis. This simply means that everything will be mirrored on the X axis. We can do this on the Y axis tool and the Z axis. Most of our work will be done in the Y plane with the X symmetry turned off. Another tool that we use a lot is the symmetrized tool, which you'll go here and symmetrize. This basically mirrors one side of the object to the other side and is very useful because in certain times there is there is errors within the symmetry that might create some differences we don't like. So by clicking symmetrize, we'll reinforce the symmetry. As you can see, we've created a symmetry again. We use this tool often when we re mesh, so I have shortcut this tool and simply plus Q and symmetrize. To add a feature to your quick shortcuts, you can right click on a brush and add to quick favorites. Or if you want to add a specific shortcut, you can assign your shortcut here. Since I have updated blender, I have lost my shortcut of the draw sharp tool, which is this. So I will add this to quick fades again. As you can see, there's two draw sharps, and I believe this is the older one. So I'll remove this from the quick favorites. Now, if I'm holding G, the need to quickly switch to draw short without clicking G. I simply hook you, draw short, and I'm good. That's about it. About the brushes. See you on the third episode where we'll start the actual sculpting of the human scope. 4. Stylized Skull 1: Hey, there. Welcome to the third installment of the course. Here we'll actually begin the sculpting. We we'll sculpt a simplified or stylized human scope. Now, I would highly suggest that you use references here and as an exercise, go onto ArtStation, Pinterest or just Google Images and search skull, School Anatomy, School three scan, and you can find a lot of good references. Pick two to three of the best and put them in your Purifle. Leave this to the side of your screen or where it doesn't really bother you with sculpting, but where you can go and look at it from time to time. But I would prefer if you use my school or my instructions, but have the purifile as reference where you don't exactly see, and you can study it better. So as I showed the setup on the first episode, we'll start by going to the sculpting workspace. We'll close this for now, and if we do need it, we'll go back to it. Let's delete everything on the scene and add a sphere. Let's maximize the screen and turn on symmetry. Before we get started, let's also change the perspective. My preferred and default perspective, I would say, is 85, but anything above 80 to 120 works. If you do go a bit higher, you might notice some difference between my sculpt and your sculpt, but it should be more differences when you zoom in closer, or let's say the back of the head might appear a bit bigger. But it's not necessarily more long. It is just that the perspective. You can go back to 85 and check your scope or just go with 100, let's say, and move on. Also, before we start, if you do have a second monitor, this would be the perfect place to put your references. If you don't have a one single monitor works great. There's no need to buy a second monitor. But if you do have a second monitor, use it for references. So let's actually get started. Or before we get started, these settings should be the default, but if you've changed them or anything like that, then these are it. Let's actually get started. We're going to start with the grab brush and move the edges of the sphere to where they're quite flat. Almost to this line ish. But what we're trying to achieve is flatness while keeping the width of a general scope. Now, we'll pull the jaw. Anything from this is a bit too low, but this areas should work. Now, pull this to where it's almost half another sphere. Let's get the jaw or the we Go. I forgot the name. We can get around four blocks. Since I would suggest working on the lowest details at the start, it should look pretty similar. So around four blocks or four squares to be more accurate. And now we're going to pull this line back, so it's very flat. Like this. And we're also going to pull the forehead here, which is flat while it's coming to the eyes ish, like this, but also very rounded while it's going back to the top of the head. But this area should be quite flat. Let's pull the jaw ish, but we'll probably have to change it again. The jaw should be on the same line. This, this should be straight. But not completely. Now to pull the actual jaw, we move this up. You can go to about half the head Let's pull a bit back. And maybe round this a bit more. Now, currently, there is no back of the skull. So let's start pulling that. Pull quite a lot. Let's say that this is like shrink the size of the grab brush enough. So it's about this size, then C, and it's about that. So basically, this should be the middle of your skull. Now, let's pull this. So the back of the skull is actually quite squarish. It's still around, but it's not exactly a circle. It's more closer to a rounded square. And this part is also very rounded but squarish at the same time. The biggest or highest point of the skull should be right above the middle. So if the ears were here, then the highest part should be around here. So subtly pull this part. And again, very square but around. Let's just uniform this. I think this might be a bit too squarish. But we just round it. This might be a bit too narrow, but we can change it. Let's go up top and just pull from the side. Okay. I just also pulled the head a bit as the back of the head, or in this case, the skull will always be wider than the front, but not wide enough that you can really notice it, but wide enough that you can say that there is a difference. Now, let's also pull this up as this is a very big, not necessarily separation, but a difference between the front and the back. I still I think the back is a bit small. So let's start by pulling the jaw a bit forward and increase this very slightly with the grab brush. While keeping that squareness. Isn't too bad. Let's align the jaw so it's straight in the frontal plane. And get this I keep forgetting this thing's name. The down point of your face. The chin. Oh, my God. So, this part is the chin top is like a very stylized bridge, like this. And it connects very straight with the jaw. The more time you spend here, the less time you spend in more detailed resolution where you have to worry about certain edges, certain looks. This is where you want to get the base and get it spend as much time as possible. So you get a very nice base. If you do mess up here or forget certain details, it's fine. You don't really destroy your sculpt. But in the later details, you probably just have to work a bit more. So what we're trying to get here is a very nice base. Et's pull the chin a bit more forward or the chin line as the chin with the mouth should be slightly under the forehead. Let's pull it back of the head. Not this top part, but this middle part, just a bit more. Maybe the stop or two, get the squareness. And until now, we only use the grab brush. So let's move into the scrape brush. That's sorry. Where we want to scrape this part dish. Be less rough here, like your main focus should be here. But we also need to flatten this part. Also the part. You won't get much, but we are just trying to align the squares so they become more on the same level. We could pull this a bit higher. And I think we are pretty good with the start. Let's put this just a bit more back. This may be a bit more front. Flatten this while this area really doesn't matter, at least when it comes to sculpting the head, the general size of it is quite important, both when it comes to the look, but also when it comes to the neck to the ear. So how this looks from the front is important, how it's really built here, doesn't really matter. But since we are doing the scull, I think we should place importance to it. We should be able to see the roundness from the front. So just pull it at the top and pull it back at the bottom. Let's scrape it a bit more and then we'll move to the next level in detail wiles. This should be a bit more flat, too. I think we are ready to go to the next level of detail. Let's also pull this back, actually. These are really not important details, but they just get that feeling of a skull, and if we look at it at other angles, it might make it just feel weird. So just pull this there's really nothing there or nothing that matters to us for the sco if you want, you can now scrape this bottom just so it's more flat. We actually have quite a nice shape. Now let's change the detail or the vertice detail. Press R, and now you should be able to scroll. If you have a tablet and you've set it up correctly or at least my way, you just hover over it to the right side to decrease it, left side, to increase it. Let's go back R, and we are currently on 0.100 meters of detail or voxel size. So let's decrease it to about let's say 700. And now to confirm it, we press Control R. As you can see, the detail is now much greater. So let's continue. The best sort of action we can take here is to smooth it. But there's nothing wrong to just start sculpting. Let's say I wanted to do the eyes immediately or rather the eyebnes. I could just make them, sculpt it or smooth it and then go somewhere else and smooth it. I just go back. But it's kind of nicer to see where you are if you just very subtly smooth everything and try to follow the current planes you created just for better smoothing. As you can see, I'm on a grab brush, but I am continuously holding shift when I need the smooth brush. Okay, now we can sculpt. Let's pull this up. And start by differentiating where the eyes and forehead should be. If we want to know the general area where our eyes will be, simply try to change the size of your brush. So it's about a third of the forehead. So think about this. So one, one, two, three h so the Is should be about, maybe no. One, two, three. The I should be around here. This gets you just a general idea, and you'll see more of it when you get the bigger shape, but you should know where certain things go at the start. So let's widen this. While trying to keep this line straight? Not going over the jaw line here. So if it's going like this, don't go over it. Okay. Now we can sort of push our eyes in, but let's pull this back first. And now we're going to use another brush, which is the claistri brush. You could use the drawbush here, just go over to it and start doing it. But I find the claytrip brush a bit more interesting and fun for the sculpt. So let's go over to the claister brush and sculpt a square that is sort of going down. So let's say we're around here. That's too big. I like this. Now this square, let's round it up. So it's a rounded square again. This will be our nose or nose bone. So try not to change this. Let's pull this a bit, but also keep it straight. And let's continue with your eyes. The eyes are very squarish, but rounded again. But this area should be higher. And this like this. We can also there's more of an angle here this. This is flat. And this is the general shape of the eye. This is definitely a bit more like this. But Let's pull this bone a bit more back. As this will connect to the cheek bones. And before we get to the cheek bones, let's just pull this a bit back. This area is definitely too big, so small and get this to line up a bit. We have this. Now, let's work on the cheek bones, which will come from around here to under the eyes. Let's start by coming from here. The cheek bone should be sort of covering this area like this. And it's quite narrow in the back, and as it comes to here, it widens. So narrow this to one cubishV very narrow. It's like a stick. But as it comes to here, it widens. There's also a sort of dip here like this or things like this. But since we're doing a stylized, doesn't really matter. Just get the stick look here. Now, let's go back to the claister brush and add some more mass here. This is where it really widens up. And if you touch your cheek bones right under your eyes, you can notice that it's quite a big bone when it comes to the head. So around this, just add a bit more mass. And smooth it. Again, I'm holding shift when I want to smooth and not exit the brush. And now hold this back. The part where this connects to the eye should be sort of in line with the forehead, top of the forehead or the eyebrow line and the end of the jaw. So if this is it, then it should be something like this. And since it's here and it connects on a very empty space here, it all goes around the aisle like this. Let's pull this a bit, just so it's straight. And now let's pull this cheek bone line a bit out of the sort of whole shape of the skull. Very subtle. Especially close to the eye as it comes here, and then it can go back. As you can see, we should notice as it comes here, but we should not see the back. Let's pull it here a bit more. Also pull the eye. What we can work now is the sort of forehead area or let's just work on the nose first as this is a bit more detailed. So we'll leave that for later. This should be flat as it comes here on an angle. Let's work on the nose. I want this to be the front of the nose, and it's it's as wide as this area, so it should come very wide, but we can also shrink this a bit. Like this. Now, pick a very high sort of point and just pull forward and down. Now, this isn't as long as the nose as you can see or well, you can't really feel it yourself as there is other parts too in your nose. This isn't as big as the nose, and it doesn't go as down as the nose. So this should be around the middle bottom part of the eye. This this. Now, the down part should actually go quite low. And we're trying to achieve a trianglsh Now, this does come to the bottom of your nose. That's why we need to go quiet down. Small. Middle edge of your cheek bones. You could even go down to the connection of the cheek bones. I think this works fine. Let's work on this eye area. Here, it should be rounded, flat, here this angle. Let's also pull it back. As the nose does dig in. Rather the eyes are sort of deeper and then the nose sticks to that area. This is too bad will probably have to add a bit more mass to the ice. Let's focus a one down. Select your inflate brush, and let's just try to add. Even though this is very low detail, so we'll probably have to do it a bit later. Let's sort of add an angle to this, flatten this straight. Let's also inflate this. Let's smooth it out. Let's pull this a bit back. Quite a lot, actually. And this connection point. We can start working more on the mouth. But let's do some changes to the chin as it kind of tells us how the mouth will work. You can either pull this not like that, but with a grab brush or we'll use the draw sharp brush. Let's try it with a draw sharp brush and just go deep I still think we should use the giabush as compared to the mouth or the face, sorry, with muscles and skin. The difference here might be a bit noticeable or more noticeable. Like this. Now, the chin should connect very nicely to the dest. Okay, to continue with our skull. Let's pull the mouth a bit more forward. If the teeth should be around here, we'll pull this just at around chin level. So it's here and we'll pull this a bit back. Let's smooth a bit. And let's better connect the chin bone or sorry, the cheek bone to the rest of the mouth. As there is a disconnect here or rather empty space. Don't do this right now. That looks something like this. We'll do this a bit later when we'll have a bit more detail. For now, let's just sort of make it ready for when we come to that point. Pull the cheekbone a bit more down like this, so it smoothly goes and becomes more wider. Like this. And now let's better connect it to the mouth. Try to make it that the point from here to here is very not very, but it's kind of visible or smoothish. So we'll widen this a bit. We'll narrow this a bit down. Let's also flatten this a bit. The nose looks fine. Let's go back to the scraybush and sort of flatten this area. Don't go too much to this place, but try to go under it, sort of like this and just flatten it until the chin. Straighten it a bit. Again, this down part isn't really that important. But when you look at it like this, it's kind of just annoying. So just pull it off a bit. Go a bit more deep. Yeah. Let's pull this a bit more forward. Look at it from the front. Should be a bit more sharp, this and also just a bit closer to the chin line this. Now, again, I don't really notice the roundness of the back he, so I'm going on the front view and I'm going to pull this back. And some of the cheek bone as well, and make this a bit more round. Also, the top should be at least the part, the line here should be a bit more sharp. I'll go about here with a smaller brush and pull very slightly. So even small and just smooth it a bit. I shouldn't really be noticeable, but it should not look smooth. Just a bit here and there. Let's work a bit on the forehead. This line shouldn't necessarily be straight, but it should be more sharp. So like this and later we'll also scrape it a bit. Now, when it comes to here, this bone goes a bit back here. And like this. Exactly at the part where it sort of digs in the top of the ear, or it's already the eye. Let's pull the cheek bone a bit more. So it's, like, smooth as it goes back, and then it sort of flattens. Like this. I think the mouth might be a bit too out. So it's just smooth a bit. And this sort of mouth area should be a bit more narrow. Let's move it a bit more up a bit more back. And let's also drop this part a bit more down. I don't like how it's looking without the sort of missing mass here, but we should get that done. Later, let's just sort of make this more box like pull in, pull down here. And that's better. Now, we want this to sort of be one shape, one line that connects these as it kind of looks separate, as you can see. So we can go a bit down here, so this top part of the chin connects with the rest of the jaw. Let's pull this a bit back. Now, from the top, let's just go a bit more in. It's like this. We definitely need to add more mass around the eyebons, but we should do that later. It is very important that you try to get as much detail as you can from the lower levels of detail, but there is certain things that you should definitely leave for later as if you sort of add a lot of detail now, later, you can't really remove it. So it's better to see some parts that are more complex for later and just work on the whole silhouette of the object in the less detail. There's a hole here, let's say. And if I did now, it wouldn't necessarily be wrong to do it now, but I think it would be more smooth if I do it later. And bigger details are best to be done now. Let's go a bit inner Okay. Now, the head should be not necessarily round, but smoothly sort of going together like this. Let's sling this a bit. It looks very good. Now, if you are working with a different perspective, I want to show you the difference that it could make. Let's go from the front front, sorry. Let's go 85-120. Now when we are more in a free zooming way, you can kind of notice that we are not necessarily stretching the school, but you can notice the difference. As you can see, as you get closer, you can't really get that detail. If you go to 120, you can notice their dunness. But it's not noticeable in the sense that anything above 80 in that area to 100 and something gives you the perspective that we need when it comes to sculpting faces, heads, skulls, and something like 50 really doesn't give us the correct perspective to create our faces. So anything above 80, 85 should work. You might have gone a bit too much here, so just go a bit down. I'll sort down this here. I think we are close to going on a higher level of resolution. Just boxy mouth. A bit more back with the top. And again, a bit more deck here. B. It's also smooth on this a bit. Maybe a bit higher here. Looks fine. Let's put this down sort of get that fibrow line. Again, the eyes should be like this where this is mainly straight, a slight edge here. Again, straight, maybe a bit down like here. A very big angle here, a very big edge. And also sort of what should I call this? Another big edge, I guess, going down and this mostly flat. It's like a square or a rounded square angled down. Now, what's got the scrap brush, and to get more of that stylized look and get rid of some unnecessarily changing of planes like here and here, where it just edges everywhere or faces everywhere. We just want it a bit more connected. As you can see it sort of puts them all in one level or a closer level. So let's just do that on some areas. Say around here. Do it enough that you don't actually lose detail, but you can see the scraping or the flattening. So here, let's polls a bit. Pull it back. The eyes should be a bit more in, but very slightly. Needless. Let's continue with the scraping. There should be a more smooth plane here. I smooth a bit. And then one that goes sort of smoothly in this area. Now, personally, I would prefer to actually do the digging of the areas now. Like we need to remove some space here, some space here, and just dig the yes more. I think this might create some issues that you can't really get rid of it later. So since you might be newer to this, we'll do this a bit later, just so the place that we remove is a bit smoother. Let's continue on the scraping. I want the mouth to have three to four planes. There's one here connecting with the chin. Then here will be our upper teeth. For our teeth, actually, this is too low. Let's increase this a bit and another plane here just under the nose. Something like this. We could pull this a bit back. Let's do that. Also back down. Here it should be more connected like this down here a bit more back. Spull it in. Let's straighten this bit. Let's also do the same for the jaw. This is going to be one bone. Here. And this bone will then connect to the chin. So we should make this very nicely or, like, smoothly connected where this plane shifts to here, and the top of the jaw or the chin will be the bone half of this part. So this part, let me pull it out, is flattened, and then it connects to the top of the jaw. Chin. Sorry, aces takeen that. But we'll see that later. Let's also flatten the side of the head here as it goes up like this. Only make it smooth at the start here and down here, but here we remove that part. Like this, this line is going up, can be slightly higher as it goes to the back of the head. And move forward. I think we are ready to go on the next level of detail. Check the mouth here. Should be a bit more narrow. Drop the cheek bones down a bit and in while also adding some heat like this. I should be sharp like this. And let's go to the next level of detail. Let's them here. If you don't know how to open this tab here that you just saw, simply press N, and then there is some useful tools here. These are my extensions which you don't need, but our main usage here is the focal length. Now let's change the resolution or the vauxel size by pressing R. Scroll to let's say 200 or 150. If this is your first time changing voxel sizes and you're not sure of your PC's performance, you should slowly decrease it by 200 to 400 and just see how your PC reacts. Press controller. As you can see, we have a lot more detail. You can see the nose is a bit not that wide down here. We'll just do that before we start smoothing. And also, I think a good idea would be to make the down end of the nostrils. So just pull two half circles here, this. So it's almost like a heart with a squared end. But the rest should be very sharp. Let's start with the area we don't really care about in detail and just slowly smooth it out very subtly. And again, smooth along the plane. So as you can see, this here will be a plane like this, it's very rounded. This is a plane. Again, I'm holding shift when I want to smooth, just so I don't switch to the actual smooth brush. This could be a bit rounded like this. Don't smoothen the eyes, I think. So in some coffee. We'll do that after we remove some more ns. Don't smooth this part or this part either, as we remove most of it, so we can smooth it later. If I don't want to get rid of some of the things here, just dig in there. So it doesn't bother you. It's not that important. You can also smooth this very quickly. The bottom part, you should be a bit more careful. This down part should come a bit forward as it connects to the down part of the jaw. Now we have quite a smooth school. Let's also smooth the nose a bit. Then just pull back or also this back. This shouldn't really be here. This part should be part of the cheek bone, this, and then this can be just smoothed out. But smooth the nose, side of the nose. You could also use the scrap brush right now to smooth it. But I want to smooth it with the smoo brush first. Pull this a bit deeper. It's line up the eyebrow. Well, the eyebrow line, I guess. And now let's dig the eyes a bit more. With the clay strip brush, start by digging at sort of the top angle or top area here and just dig a lot. Maybe know that a lot like this. And now start digging the other parts. Try not to dig the area of the eye sockets and just dig inside that part. Now we have some better eye parts. You can either smooth this or scrape this. I kind of like how the scrape looks. So just pick four or five areas and flatten them. This could go a bit down. And that's most of the inner eyes. We really don't care about the inside here. What we care about is the outside part. As you can see by digging it, we actually gave them a bit more mass, smooth it out. But let's also inflate it. With your inflate brush, just go around the ice. And let's get back to that shape. This is smooth. Kind of goes down here sharply. Another edge here. An edge here, smooth. Now, the way that the eyebrow connects is more complex, but the general shape is like this. As we are doing a more stylized school, we only need the shape of it. Let's pull this a bit down. Our eyes are looking pretty good. Pull back and smart. I want to smooth enough, so it transitions better between parts, but the shape or some imperfections are still there. You should pull this a bit down while keeping it around. And let's also pull this up. Now, I think it's a good time to work more on the missing parts or rather the Space parts. So let's just start by the nose. In the nose, there is simply a line that divides the two nostril spaces. So just dig and leave a line out. Push this back so it is flat inside like this. Also this a bit back. Make this almost as thin as the other edges. But we should probably inflate this pull this up down at the bottom of the heart or at the top of this upside down heart, let's pull this edge. Pull this down and just smooth it. You can call the snows and pit fire. And let's add some more mass down here. So there's a differentiation between it and the rest of this sc. Not for some reason. Let's also pull this back or rather make the transitional smooth. Let's continue by doing the rest of the spaces. Go back to the clay strips brush. Let's start with a more simple one where we'll dig this area. Basically, don't do the shuttle. We need to remove a lot of this where it sort of looks like that. Not exactly. So let's begin. When we want the first sort of level of digging, we want to go very smoothly, just so we know what we're moving. So keep this shape. Dig a bit here. This should be flat or straighten this like this. Then we can continue removing. As it comes to this area, it should just slowly transition. So like this. But we should remove a lot here that it is sort of visible that the back of the skull is going in. Let's also remove some mass here. Let's go over the drawbush. I think that's really good. Now, smooth it out. Be careful as you smooth around here as you don't want this to be smooth. But as you go closer, you just take a bit more distance. Definitely needs to be a bit more flat. As it connects. So let's go like this. It needs to be sort of a straighter line as it comes like this. Css our eyes a bit Sus out. Pull this slightly. You definitely need to pull this out a lot. Enough so it smoothly transitions. It it make this a bit more high. Smooth again. Sort of like this. To flatten it a bit more, let's just do this. Flatten flatten. Now let's work on the mouth area again with a clay steps brush. You want to remove don't do this. Like this. So what we want is to follow the general shape of this jaw, but make it a bit smoother like a curve like this. Here we want the mouse to be missing then slowly transitions into the chin. We also want to remove some mass under the cheek bones here. This almost like a circle here and it goes down. This could fold the jaw a bit more like this. Also pull it forward like this. And now this edge should slowly transition to the top part of the chip. But we have not removed enough mass to do that. So I just make this a bit thicker. Like this. As you can see, we are getting very close to nice cold shape. Let's pull this a bit up so this is a bit more sharp. Let's continue. We can use the drawbush and I think this is the best use for the draw brush when you just have to remove a lot of volume. So like here. But the clay strips brush should be used at the end of this process. So it just adds those more organic look of missing. Which I'll show at the end. This part needs to be a bone like this. Now, if our main objective was creating a very good skull and creating the details of the skull, not sort of learning how the skull works, then it would be best to separate the jaw and mouth part as this part, and actually delete this place where you create it from the inside out, but we're trying to understand the shape of the skull here. So what we need is the look of it. But in an actual school, this is connecting out here, so there's just empty space there. You take a sup more coffee. So, I think that's fine. Let's dig in a bit more here. Just so the jaw or rather the mouth goes like this shape, like here. We can't really see it. As you can see, now, use the clay strips brush, just so it adds a more natural missing. And let's move this. Actually, let's remove as these are not connected like this. Let's go with the drawbush again. I should be under the cheek bone. S. Let's go back here. This is quite straight, and here can transition into a curve like this. This front part or rather this angle should be quite in where we can see the transition between this plane and this plane. So put this plantash part like this. Now we can see this plant tube more out. Also pled a bit while going down. So more out. We don't want it to be very round and we'll probably fix that with the scrape brush. But for now, just pull it in. Let's use the scrape brush to create that transition I talked about earlier, where this plane transforms into the top of the chin. So we just tap it like this. Very sharp, this. So this part connects to this part where there isn't really any missing part here like this. Or chin top or this sort of edge should come up very slightly, then the end of our mouth area should smoothly transition and smooth this out. You can pull a bit back, flatten this, smooth it out. Now we do want our mouth to get a bit wider as it comes to the teeth, which should be around this area, sort of just below the middle of this area. I should go wide here. But then at the top where it connects to the cheek bones, should be a bit more in. Let's flat this. The cheek bones should be a bit lower like this it's like this. I think we can pull this down part a bit more down slightly this back into more. Again, the smoothly transitions bit wide and increase this. I think our chin isn't as sharp as it should be or rather this front part. So I just pull this to create the illusion of the jabon and super slightly pull this edge here. Can I create this line as it comes up? Again, this should transition to this, this to this. We have quite a nice shape. Let's work a bit on the cheek bone here. Again, this comes like this, and then this is very thin. You could smooth transition here, possibly pull it back. This we could push this up. Let's remove some of this part here. Let's move it. Now let's draw the line of where our teeth would be. It's the is shortbush around here, if this was let's go to the frontal view. This was the middle, then just slightly down here would be the separation between our teeth. Let's go all the way back. Now, if we wanted to create the set of teeth, this would probably be done better in the modeling side of things. By some cylinders. We could then change each teeth, but it's not really best done by sculpting. Let's remove some more mass here. And we are not far from done. Smooth as a bit. Make it a bit more round. Front of you. It's again, rounded up or rather smoothed here. Go bit more in, but in a very smooth and sphere way, not just edges. Probably dig Now, let's work on the eyebrow area bit. Let me just take a set. As the while the skull doesn't have eyebrows, the eyebrow line or area is thicker in the skull. Like, there is a difference in the place or in the planes between the upper forehead and the part where it connects to the eye sockets. So from here with the clay strips brush, let's just add some mats. This should follow the general shape of the top of the eye, as it comes here, goes down, and this part then should sort transition to the upper head. This past way lower. It's sure transition to the rest of the head. A bit more thicker, pull it back here. You can pull this down. It's actually this mass that connects to the top of the nose or the nose bone, not the eye as the e goes down here. Let's increase the size of nose a bit, it on the side. Smooth the salt. Now, this part should be a bit more connected to the eyes like this. The eyebrow connects like this. Then the rest should connect to the top of the head. This line is down, this is more flat. The transition here, Let's actually dig a bit more just to create a more boxy look. We could pull this area a bit more in the transitions to the chin flattens as well, we could decrease this below part, but it's not necessarily long now, but it's a bit too heightened and just shrink it very slightly. Smoother than transition to here, here, Let's also dig between this sport, sort of the eye bones and the inside of it, so there is a bigger difference. This flatten. We can pull this down. Let's this down. Let's Now, let's once again scrape some planes. Let's start with the eyes, this part, and connects to this part, and it just goes around the eyes. This should be a very big edge goes around the eyes. As you can see, we can notice the plane difference. Let s work on the other planes. Our nose lacks a lot of detail right now, but on our final level of resolution, we should be able to make it look better. Flatten this. Let's work as well. I also flatten this. The sp, at least the edges should be a bit noticeable, but this middle part should smoothly transition into the top. We can create two planes around this area. So as they join together, they sort of form the top of the skull, but not super noticeable. And another plane like this. Again, old Wade Nelson. Let's pull this down so we don't want to be that high. Let's work on the planes down. There should be a plane as it connects here. And then there should be one This could be smooth or scraped in two places. So we're kind of rounding it while keeping the sharp edges. It's also around the bottom here. More here, move it out. Now let's round the top part which would be where the meat of our teeth would go and also this other part. Heller the big one. We could do some like this just for better transition. Now one part here smooth or scraped, approximately half of it as it goes like this at an angle, so it's joining with the chin. This should be very smooth. So at best, we could just dig here. Go back to the scrape brush, scrape this area. There's another piece which we remove, which is around here. We'll do that soon, but scrape the jawbone smooth out. We could scrape the bottom now. Let's get this area too. Let's ground this up a bit. And let's go on our final level of detail. Let us close this smooth this, smooth this. I think our nose could be a bit more narrow. Let's go to our final level of detail. Let 5. Stylized Skull 2: Device axed it. The axed, sorry. Let's just get the shape, bit nicer and then we'll start smoothing. This should dig in like this. Also this, this bar can go a bit deeper. Like this. We can smooth these missing parts. Also pull them a bit. Here, I should smoothly transition. Again smooth the lone the planes were made. Let's put this cheek bone a bit here and then go down. Smooth here. Let's smooth the inside here. Square it up a bit the edges. We can pull the nose a bit deeper. Smooth it out. Smell the transition here. Now, let's clean the nose a bit as one of the reasons I didn't want to remove some spaces in the more or less detailed areas was because a lot of the re meshing then might make some of the material closer. But we can just remove it like this. Smooth Let me think over a scrape brush here. Scrave the edges on top here, here. Scrap the inside as well. I scrape the outside. You can pull them off a bit more. Let's pull the jaw from the inside dish. Like this. Also close this distance. Put this back to the end, smooth some more. This is a general shape of the skull. Et's also scrape this part. And if we want a bit more differentiation, we can scrape more. Let's also at this hole here. This isn't anything too complex. Sort of a U shape, which can go a bit like this. The spot can go down down. Something like this. If we want to differentiate more of the planes again, you can use some of the scrape to create a plane that comes from here to here, one that comes from here to down, Smooth as it comes, it transitions into the chin. Scrape the down part, smooth it. You can scrape these parts. I can also differentiate the teeth more or rather the part where the teeth is. Let the crease sharp, let's dig in more slowly. This let's go back to the scrap brush the bottom here as it goes down, ther on here comes here. Goes the cheeks. She bones, go. This is one. Let's do the same thing we did with the eyes earlier. This is one bit. Let's go just a bit on this area. Dig here, close this here. I just crave the eye a bit more here as it goes down, this part here comes out. And this will be a stylized or simplified school, a human males school. More of a mix. Let's dig this tool. This is where the eye will come in or rather connect and it will look like this. Let's turn the shadow for a better look. And this is our scope. The next episode, we will be sculpting a male face and we'll see how these structures affect the actual muscles and skin of the face. That's for this episode. Thank you. 6. Male Head First Level Of Detail: Hey, there. Welcome to the fourth episode of this course where we will begin sculpting a human head, a simplified male head. But nonetheless, this will be our most complex scope in the sense of just parts of the head, especially compared to the skull, but it's not that much different in complexity, rather there is just added elements which might make it look a bit different and more complex. So let's begin as we've done in the previous episodes by deleting everything, adding a sphere, going onto the Y plane, maximizing this window, changing the perspective to, let's say 85, go on to Scot mode, turn on the X axisymmetry, and we can begin. Now, the general shape of the head will follow that of the skull. Dimensions where certain parts are, but there is some added elements like the skin, the muscles, and parts that aren't really seen in the skull, like the nose, the neck, traps, ears. Well, we won't really dig into traps and the neck, as these are very complex muscles, and it's hard to learn them at the start of your anatomy journey. We are going to make their general shape as you should practice creating them when you are making heads, as it will make it look more human or more correct to the anatomy and will help you see what else could be wrong with your head in the scoping sense. So we'll start by pulling the chin. Is down. It's not bad. Let's flatten it now. Let's pull the forehead top part a bit. Similar to the skull, this front part should be quite flat, at least at the start. Let's pull this a bit down. Back. Put polis a bit up. Let's pull the back of the head a bit. Flatten a bit more. Put this a bit down back. Before we pull the jaw, since we are doing the neck, let's pull the neck first. Around the middle of the head, let's say around here. And while the neck does come up until here, connecting with Adam's apple, we are going to pull it a bit back and then push it forward. Not as thick. Okay, maybe a bit more back. Round here, let's see. At the start, pull it decently back. Decently isn't probably the proper word, but a good amount. Smooth a bit. Pull the sport down now. The sport a bit more back. We'll leave this as flat as we can, since we're not really making the clavicles and other parts. This definitely needs more flattening. See the head from the top. The head from the top should have a rounder shape, but as we come down, it should be like, more boxy. Some rounded squares, I guess, would be the best. And also an eggy shape, but the difference shouldn't be really super visible from the front. This isn't too bad. Yeah, this isn't too bad. Let's pull it down here. This is probably about halfway, maybe a bit let's say if the eyes are here, it'll go a bit below the eyes. And it's quite flat. Pull some more here, pull down. Smooth. Let's make the chin a bit wider, pull it down, and then make it wider. And then let's pull the job. This could go a bit more behind. Smooth. Connect this and try to make it straight. And the end of the jawbone should be slightly or almost at the middle of the total head. Let's pull back a bit. Let's pull the jaw a bit more and then pull this back. If the ears are gonna be around here, then this should be the highest part of the head. Just a bit like this. Hold the forehead a bit more that. Okay. As we said in the prior episode, we should try to get the most amount of detail we can in the more beginning stages. As in the later stages, it is harder to get certain details in and also get rid of some wrong details that we make at the start. We could flatten this front part. Not too much, though. These parts may be more as they come into the chin. Forehead could go bit like this, some more. I think we could pull some of the traps right now to start low first and then we'll see how we can move up. We can move a bit up on the side. Yes you can go a bit more in here. And then the traps can go bit back. This is just not necessarily the beginning of the traps, but the part that we care about. So the traps might go we'll add some more detail later. Might go to, like, heirs on a full human body. But to make it seem more natural, we probably have to add the clavicle. So we'll just keep it. This flat ish. I think we can go to the next level of detail. We'll add the Adam's apple after. Now it looks fine. This could be a bit more flat. Comes down. Okay. The neck is pretty straight as it comes down like this. I think we're going to go. Just pull this a bit more back, and let's increase the quality. Let's go to about 800. We're just going to define some of the details we made, add some more parts. Smooth very lightly at the start. Then when there's more flat surfaces, you can go a bit harder. This should be quite smooth but still noticeable. At least the transition. We could add a line here later. Smooth. You could pull this a bit more down. And as the neck goes down, connects like this here, two. Let's make it a bit more narrow as it does come under the jawbone. The jaw back. Atten this by decent amount. So add some more jonas to the jaw. Smooth here. You could do this for the traps, go with the clay strips brush and just from around here, connect here and remove some mass. Smooth. Next should come more here, but not by much. Compared to the traps, it's really thick right now. But if we do this, flatten these parts. Again, straight. But as it comes down, it should sort of wrap around here. This here. You could put a bit more. As it goes downer to the clavicle, it'll grow wider. Not by much, but it's kind of wrapping at the end here. We should add some more mass. Smooth. This could be more straight as it comes up, it's a bit more up. Smooth it out, and then the traps just a bit more behind. I think the head is going a bit too back. The bump should be noticeable but not sticking out, really. We could make this flat, but not remove the spereness of it just a bit more flat. Like this. Let me just take a sip of my coffee. And before we work on the face, let's just add the Adam's apple. I think we should make space for it first. So in a triangle, just dig. And here, there should be an empty. Not necessarily empty, but this will connect down to the clavicle. And now we can add the mass. And just smooth it. Now, here we have a really big sort of mess. So let's try to get rid of it. This can go back. We can pull this a bit more forward. Back again. Let's define the job a bit more. This might be a bit too much. So this is the neck muscle. Stars. But it shouldn't really be pronounced. But the mass needs to be there. Here we can take the draws, not the draw sharp one, and just create some sort of tubes as they come down. And slight smoothness. Let's pull the job a bit more back. This might be very small on most people, but depending on your reference, it could be quite more pronounced. But still, just remember the shapes of the skull. This is about half, I would say, smooth visibly. Let's add some flattening and we can add the ears. Don't forget the flat part here as the skull digs around here, but due to the skin and other muscle, it shouldn't be visible, but there is a switch of planes from here to here as it goes back. It's more flattened. I put out the ears. I just make the jaw a bit more pronounced. So around half of the total head. So this say this, yeah, that's about half. So the ears should basically cover the area where we want our eyes to start from as of the eyebrow line, maybe, let's say, around here and the end of the nose around here. But the part where the ears connect them to the head is a tiny bit smaller than the ear, I guess. I masked it with M, the area that I want to pull, and then with Control I, I've selected that area. So everything except everything within the grade out area is affected, while the grade out area is not. I just try with a grabush, that could work. You could also inflate it first and then pull it, but I think this is fine. Okay. Pull them quite back as we don't really want to connect with a mesh after we re mesh enough, so it's not affected by it, and we can just give it a general shape. Hold to delete the mask. Let's now pull this just a bit closer as this part is close to the ear while this part goes back. Again, where it connects is quite thin. So just pull back. I should head more down. Something like this. We have quite a nice, plain or simplified portion of the head now. So let's work on some more details, and then we can go on another level of imsh. We can pull the Adam's apple just a bit more. Now, it's grape. It's more pronounced. The ears shouldn't really go past the jaw line line. But when we get a bit more detail, we'll smooth it out. Well here. We could get ready to make the space where the ears will be. Sorry, the eyes. So since our ears are here, the eyebrow line should be around here. Me, maybe it's not too low. So with the scrape orlets increase the amount first. If our eyes will be around here, if you remember the shape of our skull, these kind of stick out. Let's go a bit more up and just make it a bit of a square is shape. So this this and some of it here. You should also pull the cheekbone. So it goes, don't do this what I'm about to do. This should be how the cheek bone sort of comes, and we'll just lightly pull that. As in most people, it's not really that pronounced. And as it goes back to the head, it just goes more narrow. Sorry for that noise. This isn't too bad. Let's square inch more, and we can sort of flatten this area. You should be able to see that there is something, a form here, but you shouldn't really make it pop out. So it's better to use something like the grab tool just so you can pull it out but not add mass to it. If let's say I did it with a drawbush I'm gonna go a bit down so I don't mess it up. It could be a bit more out. You could use the clay strips brush for it, and it wouldn't be bad, but I don't feel very confident in using it as for some reason, I'm not used to this new blender. I don't think there is any difference, but I feel like the brush size, I'm not really used to it. So but the grab brush works fine. Let me just drink some water. Let's pull the eyes. Or rather, this will be bigger than our eyeballs. So remember the square shape from the skull. So here's an edge. And this is where our nose would be. I think we need to pull just a bit more. Pull t's actually pulled from behind as if you remember, the cheekbone connects in a coming from down manner, and then the I would come something like this. Not that much. I just wanted to show the detail. Let's pull the cheek bone a bit back first. If you remember that one shape here, should still go forward make this place or space for the eyes a bit bigger, but we're going to widen it as we. Sorry. I had some issues with my cursor. I don't know why it was not on clicking. But we're going to widen this eyesh area as we go back. So we're gonna I'm going to explain this in a very heightened manner, so don't do this. But we're basically going to do this as we go back. But very slowly. I think that's fine. Let's place this in more strats. Let's Our forehead doesn't look bad. We're gonna add the eyebrow a bit later. The eyebrow line, I guess. We also add some eyebrows. Now, we don't want to make the sort of part where our eye will go the same as the skull, like in a very squared form, as there is now skin and fat that we will try to emulate later. But it's way more softened the shape of the squarish Okay, my nos is still not great. Squarish form that it was on a skull is not exactly like it. There's more fat around here. There's going to be a bit more fat here. So it's just a softened more softened squared, I guess. Let's try to make some space for the nose now. Let's pull the cheek bone a bit back. The cheek bone, as it goes, it should connect here as a bit behind the nose and then go down like this. And then this is still thick, I guess, like this. Here we can pull the bit, go down. And if you remember, the nose dips here, maybe a bit more flattened. Mm hmm. I want to make the space or at least the place to put the nose before we actually put coffee. So let's work on how the cheek bone sort of connect and then and the mouth part, and then we can see where the nose. Let's pull this a bit. This smooth. You could pull the mouth place like this. As you noticed with a skull, the teeth go like this. So the mouth will follow that shape. So it's very cylindrical as it laps. Sort of like this. We could add some more shape to the chin. Let's pull it a bit. The chin will generally stay under the eyebrow line. But we're also going to add some more eyebrows, more, more eyebrow line mass. So it could go a bit more forward. Then we can pull for the mouth. Let's go with a cresarbush. Just add a line and smooth. Should fall more smooth a bit more. And we are pretty good. We could pull the jaw a bit more in this. And I think that cheekbones should be a bit more round around here. Let's pull the eyes a bit more behind. This, and then this can go rounder and then come down. You could pull this a bit back. The jaw bit more in. We can work a bit on the jaw muscles, add some std. From the part where the cheek bone connects to the nose area or the mouth area to the eyebrow line and the jaw muscle part will sort of be one line. Like this. Very subtle. Okay. I could increase the mouth area a bit. Put the nose part where it dips down. I think we're going to at least pull the top part of the nose, and then we can add some more mass later. As I really don't like this sort of complication here. But we could at least remove some place or space here. As the nose doesn't just go out of the face, it's also very deep within the face. So just go back like this. Try to keep this sims. Just go deep. I don't really want to mess with this area as it might remove some of the mass at the eyes, but we could. Let me just show you make this a more empty space and then add the mass later. But I think that sort of ruins the shape. So just try to keep some. Don't make it fully a fully digged hole. So the nose dips here. Let's see if we could pull it now. Then let's pull around. Let's say this is where the ear starts around here. Yeah, that looks amazing. Now, the nose will generally be not the same width. There will be differences, but in a simplified, I guess, form, we could leave it like this, but with a few changes here and there. So here is why. Might go deep. Then this should be the most the widest part. Spoil like this. Now, here, if you remember, is that bone, that nose bone. So this will definitely be high. And this could either go like this or a bit more tucked in. Okay. Let's pull the nostril area up. O. And the general or whole nose part, form, I guess, should be pyramid or I guess from the front triangles. We will flatten or remove most of this edge part as it's not the nose isn't the side. These are just the connection, I guess, not really connections. But the main shape of the nose is this front part and the nostrils. And then the other, I guess, I don't know what the name is. Sort of way that connects to the face. Remember, this is the nosebone pull like this depending on your character on different positions. Some like this. The front should be very flat. So let's try to do that. And then when we have a bit more detail, we can add some more unflatness don't really like how it's doing this, but could fix it later, move out. Mouth area should be generally quite flat at the front, and then at the back, it could be a bit rounder. One of the reasons I don't really like working with the nose in earlier stages is because of all this mess. But for simplification, I think it works. We'll just have to work a bit more may get more detail. Again, a somewhat similar shape to the school we did, but with more softened forms. This could go a bit flatter. Smooth forward. This will be the highest part like right above the nose, the ears Oh my up. I like this. Could pull this just a bit higher. This up. The cheek bones just a bit, and as they go here, they'll probably be widest, but then as they go back, it'll be very close to the ear. We will make the chin go out a bit, smooth this forward. I just make the chin and the mouth go a bit deep. Dig then, I guess more deep. Latin this I think this is fine for this level of detail. Slab in a bit more. Go in. And let's go to 200. Again, check just how your device handles everything. And try to milk every detail, I guess, as you have less vertices. Hunk would be a bit more narrow than mouth a bit out. It also comes here. And let's we already. Let's go control. This was part one and the first level of detail of the head. If you are ready to continue on the second level, hop on to the next episode. Thank you. 7. Male Head Second Level Of Detail Part1: As you can see, we've gotten the big details in. So now we to add on top of them just to keep that shape, but also add the smaller tickets. We are working on the neck as it comes down here. Smooth lightly,s down, is down a bit more out. Smooth. Smooth as it comes up, smooth along the planes, we've sort of shaped smooth here. This plane, this, this. This Neck could be a bit more then. Drabs could go up, smooth. We could grab the claytribs brush and just do this and smooth. Smooth here. Lo a bit more wide, smooth. Let's go with the draw sharp and along the old atoms up we made, we'll go along this line, but we'll go like this. Just so we can add that illusion of skin and smooth. Now add a short triangle, another short wrangle on top and smooth. Then there is some issues around here, but in most people, there isn't a full distinguishment from the neck and the jaw. Okay. Let's do some scraping or flattening the bottom of the neck or bottom of the chin. And here, here, let's make the chin a bit more stylized. Here chin is quite big right now, but I think we need some more details to see just how it fits. We could pull it up, It's not too bad. I think we'll smooth down the ear and then we'll start working. Let's code or scrape this area under the cheek like this and then I'll come here. This will be the jaw muscles. Smooth as it comes here, scrape scrape this plane very lightly. The plane at the eyes, this she bone as it connects to the mouth like this and the mouth isn't could make planes, but is a very smooth shape and until we make the mouth, I don't think we should go with the planes. We could scrape it around here and around here. Pull this a bit and smooth. The chin just a bit smooth. Now we can create that sort of squarish part of the eye here. Here, a very straight line, as you'll dig until a cheek bone, like this. And now the nose might be a bit trickier too small. Make this connection here, go straight. Let's say the nose bone is around here. We could just scray this. Then around here, it could just go in a bit. And then this part will sort of wrap around it. Es we could go deeper. Pull this down and then go up. We are getting more detail on these simplified parts. You could pull this a bit up. Smooth it maybe pull this bit back. And this should go quite thin. This part can be noticeable, but as it goes up, it should just go inside the nose, at least in the fore, not actually inside. We could pull the nostrila out, again, again, and this should go up, but shouldn't generally be bigger than the front of the nose. It should be a bit rounder. This could go up now. You could pull this down a bit, put this up. And we don't have a bad nose. We could go a bit more narrow. Check other views, not just a single one. And you might notice some details. It's a bit like this. I think this isn't that flat. Like this. Now with the clay straps brush, we can remove some mass here, not necessarily remove it, but shrink it more to the inside. Go along these lines, but also like this and then holding shift or with a smooth brush stool, we lightly go around here. You could increase this just a bit and then lightly small, go in. I think the nostrils are a bit too up right now. This could go a bit higher and go down. This could go behind a bit is, and we could dig the nostrils now are short I guess M. The end, there should be a noticeable separation. But then as it goes, it shouldn't be super noticeable. Let's take the draw short brush and just dig make the lines that come down here and then smooth. They shouldn't be noticeable, but they should be there. Make our nostrils a bit smaller. Stick out a bit. A bit wide. Smooth. I want to leave this eyebrow area as we work with the eyes. So let's just remove this mass, follow these, like, planes we've made. And lightly scope you want to get rid of most of the imperfections, but leave their imprint ish as this will create a nicer organic Now, most meshes that you see that are super clean have maybe way more polygons and then have been metapologized, have had more work on the cleaner one, but you can achieve a super level of cleaners just by sculpting in higher polygons. Is to accept. That's my coffee gum. I like to stay hydrated and caffeinated in my scope. Unless I'm doing that later, so don't do that. You could work on years now. Pull this area down as it connects, smooth around here, but try to keep the smoothness sort of in the front as it might create some weird shapes here. Smooth in the front. Along this line, you just want at here and there smoothness. It creates this illusion of connection. As the cheek bones go back, they'll go more behind and so will the ear like this. You should probably come or this connection part should come lower. This, then we can pull this and then just so it maintains that, smooth it a bit, comes down, it can create this shape. For now, we'll just boil like this. While there isn't that much we do in the back, we should pay some attention to it. Flatten this part where it connects. And pull it a bit more. I should go like this, flat. This. Spill it now, and let's work just a bit on the back. With the draw short brush, we'll connect it here. So this is one plane, and then it will just go throughout the whole ear and then this will go back. We should pull a bit here as there is some mass. We just see if this messes up. But it should just stick out a bit like this. Inflate it a bit more here and then flatten it. Yeah, we don't really care about the back our at least not here. The back of the ear is important in different characters. Now let's draw the main shape of the ear. I think I'm going to inflate it just a bit before we start. Just so it pops. And now let's go with a draw sharp brush. The ear is not the most complex shape, but you should focus when you make it. So start by digging here. This will go down and then back into the ear. And the tubes sort of that come here will be in a big C shape. This. Let's remove this part. So this is like a square C. And as this comes down, it will go inside the ear, but very in the back. If you would see your ear from this angle, like this. But from the front that shouldn't be visible. So pull this back and then we'll make that sort of thing that sticks out here. And just pull that C shape. Pull this very in. This part should be very in. As we try, I think this shouldn't even be visible. At least not this part, maybe just this, this. Okay. Let's dig some more. This will be our, I guess, ear hole, and then this kind of separates this part and this part. Smooth out. Stick it a bit. This. And I think with the clay strips brush, I'll just add some mass here. Dig this with a draw sharp brush, dig up. Again, we'll pull it with a draw sharp brush. I think we need to dig a bit more. Flatten a bit smooth. This can go like this. Let's pull it back a bit and it doesn't look that bad. Now, if we have general shape of the ear, I think we can just pull it back like this. Should be noticeable, but the parts where it connects to the ear shouldn't really be visible. Like this can go in and that old shape, this can stick out. Go in, we should add some more thickness to this. We can smooth out just a bit. That's really good. Stick out. Should be round, come down. I'll here flat maybe know as flat down out. It's not bad. This definitely needs to be different, though. This should be a bit thicker. It's gonna go up out. It's gonna go in. Smooth. This may be higher. I like to make this very squarish as it goes in, that's pretty good. I don't think we should mess with it for now. I just flatten it just a bit on top. And that looks very good. I think we should start working in the eyes as that gives us a bit more guidance on how to actually work on the mouth, as we can use some of the eye position to determine where our mouth sort of goes and ends. So to work on the eyes, let's just just sort of create an eyebrow line. So this part should be very squarish, or not squarish, but following that skull shape, but with softer edges. It's smooth. Now, as it goes here, there might be mass, then the move. Also here, there shouldn't really be like this. Now let's add the eyeballs. I would highly suggest that every time you make eyeballs, you actually create a sphere and then put it back in as working on the mesh itself isn't the greatest. Rotate this by 90 on the X axis just so we can get a better eye shape, and I'll go with Straight smooth. Now, generally, there should fit around six eyeballs, not eyes inside the full width of the head. So I have my eye here. Let's go Shift B, X axis, and about this. Now we'll press Shift R to repeat it about four or five times more, four or five more times. So three, four, five, six, we have six eyes, and this should be approximately the width of our head at the widest. So this seems to be it. Now we only need one eye, so delete the fifth, the five, five others. No, why don't I increase it? We could increase it, but we'll do this as we work on the head. So place it around not down, but here slightly above. And then put it just around here. Middle or just maybe a third at the start of the nose. And we'll go to the modifiers, search a modifier, go with a mirror, and pick our object as our head, and now it's mirror. I think I noticed some differences. So one thing we have forgotten is to symmetrize. So either go here plus symmetrize or if you have quick favored it by just clicking on it, and I just removed it, and then add to quick favorites. Symmetrize and it has sanitized it. It wouldn't really make a huge difference, but sometimes it might be noticeable differences. Now, our eyes should be about one eye apart. So you could just do this, but that's kind of annoying. So just eyeball it, I guess. That o? Just eyeball it. I think this could work. Not exactly an eye but approximately. Let's pull this just a bit. We will remove this, but this area so we can see the eye, but just so it 8. Male Head Second Level Of Detail Part 2: Or if you have quick favored it by just clicking on it, and I just removed it, and then add to quick favorites. So symmetrize and it has symmetrized it. It wouldn't really make a huge difference, but sometimes it might be noticeable differences. Now, our eyes should be about one eye apart. So you could just do this, but that's kind of annoying. So just eyeball it, I guess. That? Just eyeball it. I think this could work. Not exactly an eye, but approximately. Let's pull this just a bit. We will remove this, but this area so we can see the eye, but just so it sort of laps around the eye. Eyeball, I guess. So it should come like this with a nose up could go a bit down. Now we could either make the eyelids now or add some fat around here. I think we'll go with making the eyelids now. Sorry, grow sharp as I change the position now around this line where it's going up. But this a bit, we'll start digging inside. Just around here, going up h dig, dig. You don't have to worry super much. Light now, we're just trying to get the eye out, but you should give it a desired shape. I think they might be a bit too small, but we can work on that. I generally think of the start or at least the top as the I think it's called the hidden Village leaf from Naruto, where it goes like this and then dips down. Now, there is a lot of different eye shapes, but the general would be that up up up up, down or more flat here, bit like this. This is sort of a more stylized one like this. I definitely think the Is might be a bit too small a bit small, not too small. So let's just make it a bit bigger space. Get the I's and increase them by a bit, go a bit to the X, and maybe just a bit back or no, I think just a bit back. Let's go with draw sharp again and dig some more. Pull this back by a lot. Front. Pull again. And we have some decent eyes. This could go up, down flat here. Then we pull slightly higher. And I think working on the les was actually the better idea as we already have some mass here and now we can just add to it. First let's flatten it. And let's go with the play strips brush. Now, as it goes here, just under the eyebrow, smooth it out, and then we'll sort of make the difference here when we have just a bit more detail. And we could use the crease short brush just add more edge to the eyebrow line. So this will sort of be the bone that we made on a skull, but with a lot more fat and muscles added. The eyebrow muscles, these fat pads here, fat pats around the cheek bone, but this one should come down and then just go inside bong depending on your character, age, things like that. We could do it in a bit more detail as we add more resolution. I think we just have to dig a bit more here, and for now we are done with the eyes. So just follow that shape of the eyes, eyelids. So this should stick out. Like this smooth it so he doesn't look super old. We could pull the line that sort of comes here, dig some more smooth smooth pull it up. Then we could make this fat just go a bit longer. You can go a bit more in. We probably have to dig here on the later quality. Like this, this fat could go a bit like this, this could pull it down and it should sort of disappear might have to work on the sort of part and possibly string the nostrils a bit. You could widen this go like this. I go back. It's not bad. I think we could give the mouth a shade no. Let just dig with a draw sharp here, and the smooth So the mouth or the edges of the mouth should be around at best, maybe the middle of the eyes or the sort of first quarter here. And they shouldn't be high or mid, but they should be slightly below the middle, just slightly. So here, here. This is good. And with a pretty big draw sharp brush, dig the mouth. We could use the crease sharp tool and just create a line. And then we can pull this back. Now we can work on the upper lip by pulling the stock cart we can N shape, pull it a bit forward, this a bit back, pull it down a bit, and we can dig this part under the nose. Shouldn't be super big or super noticeable, and it's sort of shape is smaller here and wider here, but by very little. And it should be generally straight. We can pull this down now, make the bottom lip and the bottom lip transitions very smoothly. It just goes like this, not as jaggedy as the top, but it might be slightly thicker than the top and the edges shouldn't really be super noticeable. We can smooth it down like this. So, smooth. Let's go with the crease polish and sort of join the bitter. This with the flat brush, let's add some thickness to the top and pull it down. Pull it down here. Then we should close this area too. And add some thickness to it. Just hold this smooth close The chin might go a bit too low, but you could change it. It's not really that I just pull it up. This make it a bit smaller. This can pop like this, go a bit up. This smooth it jaw and go a bit more than the years are really sticking out, but we'll change it in a bit. Let's make the cheese go just a bit out in. Now we can make the we go in. I could make them slightly bigger. But they should go back. This could stick out a bit, go back. Could make the chin or jaw sorting go a bit down. Like here. You can make the chino back. And we can kind of dig below the ice. Also this is and just smooth. So we stick out. Smooth. Smooth. The head might be a bit too big. I think we can just it down, pull it. So a fora goes like this, a bit lower down. I think this is taking a bit should be a bit more squarish. Like this. Let's make this like this, so it's sort of not hanging, but it's creating an overlap is here. We should probably add some eyebrow area mass similarly to the skull. Should be popping out but not super noticeable. There should be an angle as it goes down here. And with the screen brush, I'll just flatten the then it goes over this part of the bone, go a bit down, flatten it. Should be a bit more noticeable to the side. I just flatten it like this and also like this. Below here, it could be a bit thinner. So this sort of wraps around it. This is going to be a bit below, goes up, connect here, back. Symmetrize the general shape is here. Add some more mass around here. We should draw short and prefer the shade here. Is like this, this we could have some more lanes. This here. Also here. This could be a plane. That here. Uh, it should be small, but don't do this, but it could be like this, too. Not exactly like that. I'll stick with a more smooth one. Let's go take it back. Shin might be a bit too big still. Small. Flatten this area under. W here. Let's Adams Apple popping out. Let be a bit more out. Let's go a little sharp. A line tangle goes down and disappears. I think the eyes might need to be a bit more close. So, let's pull this. Let's call the draw sharp, and this should go like this under the eyebrow line. So should we go more below? The nose could go slightly higher maybe. We could add some more mass to here, that will probably more quality. As close as a bit, shade the chin just a bit more, sharpen the jaw. Should be head of it or unwiden it. I forgot the word. S like this. And I think we are ready to go on the last level of detail. L just add a bit more mass around here. Super down. I think we can add our last level detail. Let's go to 800. Again, really make sure you aren't going to crash or something like that. Now, most of our work left is some smoothing, some more shortening of areas. And we are good smooth around here, or here should be like this. Again, this should be smooth, but leave some imperfections, I guess, as they make it seem more skin like. We'll work on sharpening the eyelids right now. Cheek bones a bit high, smooth, smooth along the planes we've seen and made on the prior levels of detail. We could shrink the neck just by a bit. That's just smooth, and then we will sharpen some areas. Just go go a bit in a bit up. Wish we could pull smooth. We think we might have made too deep of a space, but It's not too bad. I need to thicken it. As goes down, there should be an M shape, then it wraps around here. Smooth more. Let's go with a draw sharp brush. Small symmetrize just in case. If you symmetrize on the starting levels of details, there won't be much need for it later, but just in case, pull this area. I could flatten it down here a bit, smooth it around here. Now, this area should be symmetrized. I changed the place. I'm used to it being down. Could dig this area like this. It's sort of going undir bottom lip. I think that makes it better. This let's make a better shape of the chin rounder as it goes in. Round here should be more small, but here it could stick out a bit. He bones are bigger than I prefer. It's just pull them in narrow. This could go out a bit. The now I think we can work with a scrape brush. So let's just add a more stylized look to it. This should be a bit thinner. We definitely need to shrink this chin. We could stylize it. Is it goes back, we can very much flatten this area. Smooth. She bones are definitely too big. This area as it comes down to, should be very thin. It could make symmetrize I really used it. Could pop out a bit here and the ears go a bit back. Let's actually forgot to smooth the ears. The do sharp should end here, here. There should be some differentiation here. Dig in to have a better look, let's just go like this with clay strips smooth. You could do it like this. Let's also dig like this. Smooth. Should go in or jog can go a bit more in. They said it could go just a bit more in. This could go in. Spark nose maybe a bit higher. Let's actually pull it like here maybe. Like this. Let's pull, top lip higher. I should go like this. The mouth can be a bit higher. Let's kind of work on the jaw muscles. Very settling. As we are in a high level of detail right now. Like this, we could pull some mass. If you remember that missing space in the skull, depending on how lean arch character is, there will be maybe some skin, maybe some light muscle there. But since it's deeper, it'll have some more noticeable effect. This could be a bit down. Let's now sharpen the eyelids. I could go just at the top, smooth the bottom, add some more detail, smooth. Same with the top lid. This should be very thin at the top, not in here. So like this, pull it down. Just go with a scray brush and flatten the top. Also the top eyelid. Like this, smooth. Let's work on this fat part. W t short brush. Just pull and it should be over this eyelid. Like this. Now, it could go up until here. I like that. But I think we'll just put it down. Let's see mask I and since this isn't in our mesh, it's not really affected. Pull it down. We could put this down a bit. Hold M, make a bit more sharper. I comes down, how sharp refine our eyelids a bit more the fat pad goes by. Let's go with a scraps, scrape this, this, this too. Close a bit smooth mouth still looks a bit open, so I just pull around here. Back. So bit closed. And let's go for our final detail with this brush. It should go down. I say it is quite thick, this could be a bit more forward, and this goes back a bit more closed here. This could be just a tiny bit smaller, upper here. Go down. I just shing the head a bit. You could pull this a bit back. This back. We're just working on the more detailed as now. This back. We can flatten this sport part as well as it goes up, down And we are done. Just like this. I think there is some more details that are a bit too big proportionally But the general shapes are here. As a final part of this episode will give some color to the eyes just to see some of the brushes we didn't use. So let's turn the shadow on. Let's say like 0.8. We could add some eyebrows too. Shadow allows us to just see some more details. Let's add some eyebrows too. So around here as it goes like this, Then they add some more lives it. Now, if you remember, we pull this tab over here to close it. So now just click it to pull it out, and let's go with the paintbrush. Now, as soon as you paint something, you'll notice that it will be a difference in sort of lightning. Oh. That just makes the color setting here go from material to attribute. Our eyeballs, which we can isolate by resting slash are in a very low quality right now. Let's go to Edit mode. If we want the best color, let's just go to super high. Again, check your device, control R, and just smooth it. Let's go back with slash again. This might be mesh sticking out. Deleted, go back to the eye. I'm switching between objects down scolding with Q. So I'm currently on our head. If I hover over the eyes and press Q, I'm now working on the eyes. Let's go in the front view and in the middle, make a with a paintbrush, a black sphere around this size as if it's touching both eyelids and just go around. Now since we want this to be black and white, we'll make the color grayish and just leave an edge. Now we will change the strength with Shift F and just go around it with our black colored. Doesn't have to be correct because it'll smooth it, smooth it around the gray area, just so it creates this sort of aura And let's make the.in the middle. Let's increase the strength. And around that. Due to the shadow, or the light, we could make this just a bit brighter. So just add a lighter color here. Smooth. I also like to just decrease the strength and create my own shadow with the black colour. Add some more here. Smooth turn out of smooth the eye. And that is how the paintbrush works. That is it for the last sculpting episode. In the next and last episode, we'll talk about references, how to find references, how to work, and how you can use them in your best ability and learn from them. Thank you for watching and see you on the next episode. 9. How To Find And Use Reference Images: There. Welcome to the fifth and last installment of this course. I hope that you've enjoyed the rest of the course until now. And by now, you should have a good idea of how sculpting and lender works and sculpting generally, whatever your software is. As of this episode, we will be discussing a very underrated topic when it comes to sculpting and maybe art in general. That is references. I'll be going over how to find good references or what makes a good reference and some tips on using them. So let's begin. As a beginner, your references should have a more correct anatomy. And since at the start, you can't really see if the anatomy is right. For example, if the proportions are correct, if some things should be where they are and so on, you should look for references from trusted sources. Now, these trusted sources will be three D scans. So if you simply search, let's say, head three D scan, you can pick a lot of good ones, but you should still see if they have been touched on, as a lot of three D scan agencies tend to sculpt on top of their three D scan just to make some parts more visible to fix some issues with the scanning and so on. But generally, most three D scans are a very good reference. So you can just go on to Google and search head three scan, human body three D scan, and so on. So where do you look for references? Well, there is a few sites which work best. First of all, that is ArtStation. If you have been part of the three D and art community, you're probably aware of ArtStation. This is a art portfolio or art showcase website where you can find specific art categories that you search. If we search anatomy, you can find a lot of anatomy works. Now, most of these, especially those at the top, will at least have fairly good anatomy. But again, I would highly advise that you stick to three D scans at the start. So you can search three D scans and these reference poses by the three D scan store are pretty good. A lot of anatomy for sculptors is pretty good and you can trust. You can find a lot of resources from Anatomy for sculptors and so on. Another good resource is Pinterest. Again, if you have been part of your community, you are familiar with Pinterest. We can search TD scan. And you can we should be a bit more specific, but you can find a lot of three D scans. Now, be careful of AI artwork outside of the more ethical perspective. A lot of AI art has a lot of mistakes when it comes to anatomy, and they will do much worse than they will actually do good. Now outside of these, you can simply search into Google, three D scan of certain body part, three D scan of head, and so on. As we move on to the next after three D scans will be real life pictures. Now, as a beginner, you need to better pick up certain shapes. So the real life pictures that you want to look at should have characteristics more heightened. So if you want to sculpt a body, your best bet is to look at bodybuilders on stage fairly lean. So you can just search body building stage. And you can find a lot of pics. Now I would recommend picking a body builder and simply searching stage picks or just lean pictures, and you can find different angles to their posing, and you will get a good idea of how the muscles look, how the skin on top of the muscle look, and where fat could be in different less lean people. As for the face, you could also use bodybuilders, but models aren't bad. The general idea should be models that have a heightened characteristics where you can better see the certain parts of the head and you can pick up proportions and so on. You can look guides on top of the pictures and so on. Now you could also use guides or anatomy books, but those require a more experienced perspective, I guess, as they don't present the actual shape, but sort of if I can call it vibe of certain parts. I still don't fully grasp. And even though I might use some parts of, let's say, Bridgeman anatomy, I don't think they're a very useful reference at least at the start. So that is it when it comes to more beginner, good references. And as you get more experienced, you can simply go into art station, see a nice overall scoped and get a lot of angles as that would be very helpful. Don't try to just get the back angle and the front angle, even the side angle, but let's say three quarters angle would be the best as you will get a view from every side and different from drawing, you need to check every side so at the end it can look correct. That is it when it comes to references and finding good references. Now, at the start, we did mention Puref and that you should begin using it. For references. Now, this is my Pura file, my personal Pura file. But due to a lot of art being uncredited, I wouldn't like to share this without the artist's knowledge. And since there are a lot of artists here, I'm not going to share. But as you can see, there is a lot of picks, and I think it should be noticeable, even in the blurred version, that they are sort of grouped. Here I could put more body picks. Here I could put, let's say, full body picks, here I could put faces and so on, you should aim to structure your purifile but it isn't super important, but this makes it super easy to just start sculpting, going back to all references. Let's say you sculpted the certain phase today, and then in three months, you just go back to your personal file, go back to that reference and scupt it again, see your progress, and so on. And also, if you have different projects, you can simply dedicate a certain corner to it and put all the references you need. You can collect references so you can use them in the future and so on. Having a personal reference file is very useful and very productive, I guess, when it comes to using references. Outside of PUF, you can also put pick in your blender window, but I find that it sort of clunks the workspace, and I don't have as much control. Also, as I mentioned, at the start, if you do have a second monitor, that's where you should put the PUF file, and it will be super, I guess, better. It'll be better. But if you only have one monitor, then it's not really that big of a deal. Another tip is to go over a certain reference multiple times. Let's say today you sculpt a face. In a few hours, you scope that same face from the same reference, and you do this multiple times, and you will get a very good idea of how the reference works. You are basically studying the reference. And when it comes to anatomy, this works very well, and you can spend, I guess, more productive time but less time in general to learn certain principles. Now, I feel that a lot of people are fear mongered into not using references, but I think this is very wrong. References will make that your artwork is elevated, that you learn better. And while you should feel free to sculpt without a reference, sculpting without reference will probably just slowly progress your art. Now, you shouldn't always strive for progress, and you are doing maybe art for fun. That is totally fine. But I feel like sculpting a muscular dude is very fun for me. But if you feel like you don't want to use references, then that's completely fine. You can have fun to just, I guess, use your imagination. But do not be scared to use references. And I would say aim to always roof. Use references, sorry. And if you want to make, let's say, a head out of your imagination, I guess, you can use a skull reference or some proportions, just so you have an idea of what it's going to look like, I guess, or you have a better idea of what it's going to look like. So please don't be scared to use references and always aim to use references. But if you don't want to use references from time to time, that is completely fine. You should have fun with it. And that concludes my reference, yep. But it also concludes this course. I hope you enjoyed it. I hope you learned and have a very good idea of what sculpting is, especially in blender, but in your respective software, and I hope you are more interested in learning how to sculpt. From here, you can seek out working with references, new tutorials and just elevate where you are. Just going to blender or your software and sculpting from reference will give you immense progress. So I would highly advise that you do so. Thank you for being part of this course, and I hope I see you in the future.