Your First 3D Sculpt | Blender 3. 0

1. Welcome: Digital sculpting is fast becoming a popular medium for creativity and art. Welcome, my name is John Ray and in this Skillshare course, I'm going to be teaching you a thing or two about sculpting in blender, which is a free and open-source software. The end result of following this course will be sculpting this head that you see right here with the hair as well, which we're gonna be doing with curves. I'll be explaining the whole process whether you're an absolute beginner. I'll take you through the first few videos explaining the basics of sculpting. If you're already familiar with a few things in blender, you can go right ahead to depart where we sculpt ahead itself. And one of the things that's going to make my course a little bit different is that I'm approaching it from the perspective of using a computer mouse and not my usual graphics tablet. And this is simply because a lot of people out there who may very likely only have a mouse. And once you learn the principles of sculpting and you get a little bit comfortable with it. You see if it's a medium that you'd enjoy, tin you can invest in a graphics tablet, so just a mouse, that's all you need and a free copy of blender which you can download on the internet. All of the relevant resources will be provided inside of a resource file where you're going to have all of the different blend stages that are relevant to the head scope. Also a model sheet and reference board that you can use, and a startup file if you don't want to set up your own scene and you want to just start from where I'm starting. I encourage you guys to take what you learn from this class and develop your own style a little bit and see what you can come up with. I look forward to seeing guys in the course and I hope you enjoy. 2. The Model Sheet: So one of the things I would highly recommend for people who are getting into sculpting is to try and draw out a model sheet or even find one online. Now the reason for this is before you're really good at sculpting and you can kind of visualize things in free space, you're very likely going to need something like a 2D reference to help you out and to kind of get you started. And as you get more advanced, you can generally just start reforming a blob and sculpting it. And you can look at some reference images as a beginner, having a guide is going to be helpful. I'm going to quickly show you what I do, but I'm just teaching you to fundamental principles. You don't have to use GIMP like I'm missing, you don't have to use Photoshop. You can use anything, you can use Microsoft Paint or you can just be old school and draw it on paper, take a picture or scan it. It doesn't matter. Anyway, you prefer and that you're comfortable with her work. But what you're gonna do is just draw out a circle. That's a very handy thing to do when you're starting out. And in that circle you're going to draw a line down the middle of that circle. So you can see here it's a very simple concept and the length of that line, so the bottom of it, where the circle is, the length of that line that goes down should be almost about half of the circle. So you could almost break, get up and deferred. So you can look at this as one segment down to the middle and not a segment down of the same length. And then another segment down if the same lengths to break it up into phrase. And this is not a golden rule, anything like that. It does tend to be a nice proportion to work with. And then you can just simply draw a line about less than a quarter of the way down on the circle. And that's usually a good place to start placing the bottom of your eyes. And then the top would be where your eye or bridges guard. Now, the IRS or generally, I tend to have a little bit higher than the top of the eye and that tends to be what you see in real life reference. And then I'll have them coming down to about what a bottom of noses. But the lobe of the ear down the bottom electrode let that come down just a little bit lower than where did noses. And then somewhere between the nose and the chin, I like to put a little dash just to indicate where their mouth is. Now what you're going to also want to do is you're going to want to add in some reference lines. If you're drawing on paper, you can simply just take a ruler and draw out some lines diagonally. Now where you place those doesn't have to be exactly the way I'm doing it. It's just anywhere with gives you a point of reference. If a maid That's the top of the head. So I took the circle here and a line out from it and just above the eyes and ears, underneath the nose and the chin. And so just these four lines. And then what you can do now you have these reference lines and you can draw a side image. So did the exact same thing as circle and a line going down and I broke up into thirds, as you can see, exact same thing. And then from there, I just drew out to the back of the head a little bit of a curve and that you're just out here to front because it's more of an oval and that is a circle. And then I just made a little triangle here to represent the side of the eye. But you can see it lines up with the reference line and the same thing here. The nose is very simple. I just drew that line down. I knew where to end the bottom of the nose because I can see here on the reference that's where the line is here and the chin is the same thing. A very simple and practical way to get references is to go to a site like Pexels or Pixabay, just type in face or whatever you're looking for. And it should come up with a bunch of really good results. You can download whichever ones you want. And then there's a free little program. I'm going to quickly show you where you can drag them in to make a reference board. So this program here is called pure reference one I use all the time. You can simply go to pure ref.com and download it, run out on the computer. It's available for both Mac and Windows. And once you have it installed, you can simply run a pure ref on a computer and it'll pop up with this window here. It's a very basic windowed is no buttons or anything. You can simply right-click anywhere in a window and move your mouse to move it. You can also just right-clicked by itself and then you can just go to Help and it tells you all of the different commands. Now, if you want to drag images in, you just download a whole bunch of images that you want. In this case, I've got two front on images of a face and to side on ones that I got from Pexels, I just grab them and drag them in. And then you can just left-click on an image. You can move it around. You can grab an image and scale it by going to the handles and the corner. Very simple program and very easy to use as hardly any need to make a tutorial on it. But you guys can get the idea. You can just right-click then save and then go save as and is saved at a reference board somewhere on your computer. Now I've already done that, so I'm just going to go ahead and close it. But what I am going to do is, well, I'm going to be providing along with this course, a reference board, cold faces side and front to have those images. So if you haven't gone and major R&B can just use the one that I'm going to be providing. So having pure ref running in the background, essentially it gives you the opportunity, if you get stuck, to just quickly come in here and just look at your references and you can drag as many inheres you want. I'm not actually challenge you guys to add it to this and just get many faces is you can, whatever you're trying to model, drag it in there and you have a nice little reference board and just make sure to save it and you're ready to go. So in the next video I'll be talking about Blender a little bit, some basic user interface stuff and navigation. If you do already know how to move around and blender and you know the basic user interface. Feel free to skip ahead to the video where we're going to be starting preparation for sculpting. And you can go from there so completely up to you. But thank you for watching this part and I look forward to seeing you in the next one. 3. UI & Navigation: Assuming that you're absolutely new to blunder and you have never used it. This video is going to be taking you through the user interface and basic navigation. So essentially just how you move around and how by no means can I cover everything that Blender has to offer in a user interface? But I will provide a link to a full beginner's course that I have on Skillshare. And you can also just go and check it out on my profile. It's a very handy video and it'll get you up to speed. Also, we're going to be using a mouse, so we're not going to be approaching navigation from the perspective of a stylus or a tablet. Even though that's what I personally use myself. A lot of people out there don't have that primarily focusing on the principles of sculpting. Even though a tablet is ideal, a lot of people may only have a mouse. And I want to learn a bit about sculpting before I want to invest in a graphics tablet. So that is a little bit of an unusual finger off the mouse, but that is how we're going to be doing it, a navigation. I'll also quickly note that we are going to be using shortcut keys on our number pad. And a lot of people don't have a fully extended keyboard. So if you don't have that little square grid of numbers on the side to usually have 0 to seven. And you only have the numbers in the top of your keyboard, like 12 free, old way through to 90 on the end, you can simply go to Edit and Preferences under the Inputs tab, you can go up to keyboard and go to emulate number pad. And then the case that sit on the top of your keyboard, the number keys will emulate a number pad. So moving around in Blender is quite simple. What you can do and I'll quickly just enable my screen cascades that essentially just lets you see what I'm pressing. So you can hold in shift in Blender and then holding your middle mouse button. And that allows you to pan or move around in the 3D view port. And a free 3D view port is this tab right here or this box by this window, if you will. And that's where you do everything in free day. So holding Shift and middle mouse button at the same time and moving your mouse allows you to Penn. If you want to rotate, you simply hold the middle mouse button in by itself. And he can rotate. And just those two right there, the middle mouse button by itself to rotate and then shift middle mouse button holding them both in, moving the mouse to pan. Those are going to be the main things he used for navigation. You can also roll the middle mouse button. So rollouts board and enroll it back to zoom in and out. And they're getting back to our shortcut keys. The reason I mentioned the number pad. If you hit one on your number pad, it'll take you into the front orthographic view. You can enroll in a middle mouse button to zoom in and out. If he hit free on your number pad, they're free. You can go into the right orthographic view. Seven takes you to top, but if you wanted to do the opposite, so if example, if you want it to see to bottom, you could do Control 7 or Command 7. Now these shortcuts may be a little bit confusing when you're just getting started. So you can also just go to View and simply go to Viewport, and then just click on one of these options. For example, let's go to front, and that's pretty much just our view port here. There's a lot of things that you can say about the viewport, but that's primarily the main thing you're just going to need to know to get started with discourse. Now I'll briefly mentioned how you move an object itself. It's not going to be that relevant. I was sculpting, but just so you understand, in Blender, if you actually left-click on an object, you can go over here to decide and you can click on the Move tool, and then you can just simply click on these little errors. I won't go into what the different axes are and how you use them. But essentially the blue is z, so you can move it up on the z. You can left-click on the red arrow, hold it in and move it that way. And that's why you can just move the cube belong into 3D spaces. Alternatively, you can hit the shortcut, which is j. So hitting G on your keyboard allows you to move an object. And if you hit G and any follow-up by z, you can restrict it to dizzy. If you then follow it by y, you can restrict it to the y and an x restricts it to x. You can click on rotate, and it's the exact same thing, but just rotation. So you can rotate it on the X axis. And once again, I'm not really going to go into that at the moment as it's not too relevant to sculpting. But also here you can go to scale and then you can click on these different axes to scale along the axes. So in this case it could be z, in this case it could be x. And then you can click in the middle and that'll scale the whole thing. Also keep in mind that this coordinate system, the z, x, and y is currently working on the global space. So essentially what that means is the cube might be rotated right now. So if I rotate it and then I got S and I go z, it's going to scale and dizzy, but it's going to skew to cube because it's using the World reference. If you hit S and then hit Z twice, it'll do it locally on the z-axis. Now, I know that might be a little bit confusing and if you don't understand that, it's okay, that's not going to be two important for following along with the rest of these videos. But you can watch, like I said, my absolute beginners course, which we'll explain that in a whole lot more detail. But for now, that is how you essentially manipulate an object with these free tools here, we are currently also in what we call object mode, where we just move objects around. Now if you go over here and you go down to Edit, you can go into edit mode. And this is essentially where you can individually manipulate the points which are known as vertices on an object. And you can do that by selecting a vertices. Or you can go up here and select either an edge. And you can also select a face and the moving in here and I'm rotating or the exact same tools and shortcuts stuff. The only difference is you're going to be seeing a whole bunch of extra options here, relate it to, to edit margin. Once again, it doesn't really matter too much if you understand this for the rest of this course. So Object Mode is almost just like a collection of faces, edges and vertices. And you can move them around in 3D space. And if you were to edit them, you can come to Edit. And that's where you can more individually manipulate. And that's more what we call traditional modelling. We're not going to be doing that. We're gonna be doing sculpting. So let's just quickly we're going back into the object workspace. And when we want to sculpt something, we can go up here. This is one way to go to object mode and just going to sculpt mode. But alternatively, you can just select the object by left clicking on it, then go into your sculpting workspace and it is already set up for you. I'm not going to be touching these different workspaces up here. They're all four different types of things. But essentially, this sculpting workspace is going to have everything you need to get into sculpting. And as we continue, I'll explain all of these different things here. Now on top of the 3D view port here, which I've already explained. The one thing you're also going to want to look at is just this scene collection up here or just outliner as it's known. And that's where you're going to be seeing all of the different things that are in your scene. You can turn things on and off if you don't want to see them, you can add things into collections or groups, almost like folders in Photoshop or GIMP. But as we continue, you'll understand that as we've started using it in practical ways. But that is essentially the user interface. So I feel like I'm at this point where I can wrap this part up. And if there's one thing you can take away from this is an absolute newbie. If you're still learning Blender, just practice the navigation. Get comfortable with moving around, with panning, rotating, and zooming in and out, can practice those things. And also just going in between the different views. The front orthographic view, like I said, is one we go into quite often because that's where we see the character front on end of right view and a left view which you can do with control free or Command F3 as well. As long as you get that cemented down and you practice that you should be able to comfortably follow along with the rest of this and a lot of the other stuff that went over your head a little bit. If it's too new to you, don't worry too much. It's just getting you introduced and you don't have to feel too much pressure to understand every little detail. I'll make sure to explain that as we go. And by the end of the sculpting course, you'll be able to make something really cool and there'll be another bit of information that you can use as an artist. 4. Setup For Sculpting: In this video, you're going to learn how to set up your model sheets in Blender and how to organize your single little bit and save it out. Before we get into the rest of the course, you can use your own reference material or model sheets. Just at least make sure that whatever you bring into the computer or scan or take a photo off is at least something like a PNG file format, which I know works really well with Blender. So if you go to the Resources folder provided with this course, you will see the head reference DEM file. Does it the same one from the earlier video where we looked at model sheets. But once you have it opened up, what you're gonna do is you're gonna go to File and then you're going to go Export As, and then you can go find a location on your computer. So I'm going to choose my desktop as example. I'm going to click Export and then just click here on this Export button on this little panel that pops up. Now, I've already done that, so I'm not gonna do that, but that's what you guys can do if you're following along. I'll also mentioned that you can leave the background active if you wish. I prefer to switch it off and just export this as a PNG with an alpha channel. So essentially we're just going to be seeing the lines and the rest is just going to be transparent. So as I was saying, on my desktop, I have already exported the head reference PNG. What you're gonna do is you're going to simply run blender. And here you can see blenders now run. And by default, it just has this scene here of the cube, the camera, and the light as you've seen before. Also, I'll just quickly mention once again, just in case anybody's MRD, I am using Blender 3D point or at this point of using a really old version of Blender. And things may be a little bit different, but before we get into anything like references and setting something up, it's very good practice, especially when we're sculpting because it can be a little bit unstable when we have a lot of geometry being added, lender may crash, so make sure to save. So what you're gonna do is you're gonna go to file and you're going to go save as, and then select somewhere in your computer where you choose the destination on your systems completely up to you. I'm just like my desktop and it's also very important to come over here to the naming convention and name it something that you'd recognize so you don't confuse yourself with a whole bunch of untitled dot 000, whatever files that start piling up on your desktop. So let's click on here and let's type in something like head, because that's what we're going to be sculpting, underscore sculpt and, and what I like to do and this is optional. You can go underscore and then you can put 01. That's, I'm gonna go ahead and go save as. And now you can see here is a head underscore sculpt underscore 01. And the reason for that naming convention is when we're sculpting, we may at some point want to go back to an earlier stage where we didn't mess something up occasionally when you make a major change, instead of just going save, you can just go Save As then, instead of naming everything again, you just simply click on this little plus and it'll automatically change that convention to O2. And he can go Save As so every time you make a major move instead of just saving is really good practice to save with these extensions. And that way, if you realize you've made a big blunder, you can go back a few stages, and that's a very handy little tip for you guys as well. So whatever stage of Blender you've saved so far, just make sure you've saved it. And since we already now have our exported reference image or model sheet, what we're gonna do is we're gonna hit one on number pads to guard into front orthographic view. And once again, like I've mentioned, I do enable my screencast case. That's why you guys can see the keys that I'm pressing and that should be a big help as well. So indifferent orthographic view, once again, one under a number pad. What we're gonna do is we're going to locate the image that we've exported. So in my case, that's on my desktop, I'm just gonna grab it and drag it directly into front view. Make sure not to drag it on top of the cube because then it'll add it to the cube as a material. You're going to now left-click on this plane that's been imported. And you should see up here in the Scene Collection, we now have this thing here called an empty. It's also known in auto softwares as a dummy object, but essentially it's not something that's going to be rendered. It's just there in the background and has a lot of different uses. So with this empty active, hit G to move and in Y, and you're gonna move it back in your scene survey. It's not intersecting with the object we're trying to work with. Once again, hit one on your number pad to go into the front view. And you can now hit G with that plane selective and try and move it right in the middle so that this face here to front image of our model sheet, right on that blue line. So you can see here that middle line there. Just make sure it's right on that blue axis line in the front orthographic view. And then we're gonna go G, z and we're going to move it down sets of roughly where our cube is just a little bit. So hitting Z on your keyboard, you can guarantee this thing here called wireframe. And that way you'll see Froude a cube. So you can now go G, z and move it down. And what I'm gonna do is I'm going to move it, tilt the chin of this model sheet is right on that red line that you're seeing into view port or what we'd call F floor. So that's the red axis line and that's just a good point of reference. You guys can set it up the exact way I'm doing. Now what we need to do is we need a side image as well. So if we hit free on a number pad to continue to write for graphic view, we don't see a reference. All we have to do now is just select with that empty active, we can go Shift D to duplicate a shift and D will duplicate and then hit G and in Y. So GY after that duplication and move it forward. And if this plane still active, we can go our Z, so RStudio tight and z is the z axis. And then we can type in 90 and hit Enter. So now it's rotated at 90 degrees on the z-axis and we can hit afraid to go into a right orthographic view. And we already have the right height of this image. We just need to move it on the y coordinate, which is this green line here. The right orthographic view, which is free and a number pad and this new empty dot 000 001 active, we can go, gee, why and move it, and move it till it is sitting in the middle of our scene here. Or you can look at that blue reference line as well. You should also see this thing down here called f 3D cursor, which is where things get added in by default. We'll talk about that a little bit later in some of the upcoming videos. But that's what you should be sinks and now it's perfectly lined up that way. To only thing we need to do now is in our front view is a hidden one. To go to front view again, you can go G and then go x and move it under negative direction on the x. So we're just moving it this way. And that way we will still see it if we hit free on a number pad. But it won't be intersecting with the object we're trying to model. So now you can hit Z and you can go into solid view again. And you can see we now have a front reference and we have a side reference perfectly set up. And once again, once you've made a major action in wonder, make sure to go Control S or Command S to save and make sure that it's all secure just in case it crashes. Now that's all really good, but we can do a lot better by organizing our singing. So what we're going to quickly do is we're going to select both of these planes so you can just left-click and a scene and just drag until they're both glowing. So you can see this orange yellowish outline. You can see over here to both active up here. So you can hit the M key on your keyboard, and then you can come to New Collection and just type in RREF Enter, and then you can click Okay, and now you have a collection here or a layer if you will. And you can just untick that to anytime we want to. We can bring that back just like that and it'll make things a lot more organized. You can also just click on this front reference here, double-click on the empty here, and just call it the front. And then you can click on the one here on the side, come over here under the refs, click on it twice and then just type in right or even side, whichever thing helps you understand what it is. We're also going to quickly just select the camera over here and then holding shift, we're going to select this little light in the scene and to get them out of the way, which can hit M again. You can see they're both active up here. So we're going to hit M and we're gonna go New Collection and let's just call that sane. And that's just seen items that we can hit Enter and then go OK. And now we can just come here and untick that as we don't need to see them yet because we're not doing any lighting or materials, and that's it. Now we have a nice organized scene here and you could just drop down these little tabs here to make it look nicer. If you don't want to go ahead and do this part, I will provide this startup file that's ready to go forward, the eventual part where we start doing our sculpting. So in the next part we're not going to be doing the head yet, but we're going to be doing some fun stuff with the brushes. I'm going to be taking you through it and just a new scene and blender so you can mess around a bit. It doesn't matter if you make mistakes. It's just to understand the brushes, some of the different settings, how to set up symmetry. So that is going to be the next video. And after that, we'll finally get into sculpting to head. 5. Brushes & Symmetry: Hello, In the previous video, we set up our scene so it's ready to go for when we sculpt ahead. But in this video, you're just going to open a fresh seeing a blender. And I'm going to show you the different brushes, how to use them and how to sit up symmetry. So essentially, how do we only sculpt on one side and it happens on the other side. So we'd get it looking perfect. And it also saves us a lot of time. Select your default cube by left clicking on it and just bought away. If he go Shift a and you go over here to this thing called meshes, you can add in a whole bunch of different objects. You can move them somewhere and just play around with the sculpting if you want. But just for demonstration purposes, I'm going to go with this default cube here. So if you ever added an object, Left-click on it, you can just hit Delete on your keyboard and it's gone. So select the cube. And what we're gonna do is we're going to go over here to our sculpting workspace and everything is set up for us. Now just in case you missed a previous video where I explained a user interface and a few basic things about Blender. All mesh objects are essentially made up of points. Now you don't have to follow along what I'm doing here. I'm just explaining that I just different points and edges make up an object and sculpting, essentially, what we're doing is we're just moving them around with these different brushes in 3D space versus modelling where we do it point-by-point or face by face and we extrude things. But a very big difference with sculpting is that not only are removing points around, but we're going to be dynamically adding new topology. What do I mean by that? So you better understand, I'm going to hit Z on my keyboard. So hit Z and then go into to wireframe mode here. And at the moment you probably not seeing my screencast case. I'm just going to make sure to enable them. What you do is you can click on any one of these brushes. I'll explain what they are in a second. Just use the default draw brush here. So click on a surface here and you can see you have this little gizmo comes up where there's a point. And if you click, left-click and you move around, you can see you're sculpting it. It's just moving around in 3D space. But what we need to do, so we need to come here to this little tab under active tools in the workspace settings. And this is called dynamic topology. So come to the drop-down and then click on this little tick to activate it and it gives you a warning and a reason. It does that because if you have a preexisting model, it's going to triangulate the mesh and read topologies it essentially adding new topology and you can't reverse that. So that's gonna give you the warning and you're gonna click OK. So now if we come over here, we have just destroy Bosch and we click on a point automatically. It adds in a whole bunch of geometry for us, as you can see here. So we have more stuff to work with. Otherwise would just be moving the same points and we could never add in additional details. Now one of the things I do need to explain with dynamic topology, and by the way, let's just quickly hit Z and go back to our solid. And if you want to see that lines there, just so you understand, you can quickly go to this little tab here, cold object properties, and then you can go to Viewport Display. And under the viewport display, just an able wireframe so you can see it. So let's quickly go back up to the Tools panel here. And what I was saying earlier under the dynamic topology here, we have the settings here and I'll quickly explain what the ardor important. By default, it is set here to sub-divide collapse. But the main thing here is to detailing which is set to relative detail. And what relative means is that when we click with a brush, so if you left-click somewhere and it adds in new topology, it's going to base that on how far you are from the cute. So look at the scale of the topology when you click summer and then zoom in to roll the middle mouse button closer and then press summer and look at that. What do you notice? Look at a size of these triangles and then look at the size of dose wants. If you zoom out, look how much smaller it is. And if I zoomed in even closer than that and I made a selection there or a paint like that. You can see there it's even finer and finer. So it is relative distance of where we are at. A downside with this is when you're just getting started and you still getting used to how close you are to something when you sculpt this can be bad because if you've really close and you're adding a lot of fine detail, it can get dense really quickly. So when you just blocking out and you're getting started, especially if you're a beginner, it's important to come here under the dynamic topology and change to detailing, to constant detail. So now it doesn't matter where you click so you can hit F, just hit F to grow to brush and move your mouse. You can click anywhere to detail is going to be consistent. It's going to be constant detail. And there's this great poem we're blocking out. So this is a very crucial thing when it comes to sculpting. If there's one thing you can take away from this section, It's the dynamic topology is a lot of other things here. We'll get into them. But just understanding what dynamic topology is, how it differs from Box modeling or traditional modelling and edit mode and why we want to work with detailing the way we do. Eventually when we're finished with the constant detail and we have to RREF form of a model established. We can eventually get into relative detail when it's needed, but just for now, keep it as it is. So let's get into the brushes themselves that if you look over to the left side of your monitor, you're going to see a whole bunch of tools on what's called our tools panel. If you're not seeing that panel, by the way, you can just hit T on your keyboard. So to take, he will either take that away or bring it back. Now the one thing I can mention about to this Tools panel is that a lot of these brushes are very similar, almost the same with little differences. Now the default brush that is selected or active is to one here at the top called a dual brush. And when you have a brush active or selected, it doesn't matter which one. You can come over to your Properties panel here. And under the active tools and a workspace settings, you will see a picture of two brush and some of the basic features here. And any of you who are familiar with something like Photoshop or GIMP, you note that when you make a tool, oftentimes you have the default tool, which is the same as log data tools. Differences are just the different settings. So in theory, you can make just about all of these brushes here. We have this default brush by coming down here to the brush settings and changing somebody's parameters. I'm not going to cover all of them at the moment, but you can even get into the Advanced tab and do a lot more stuff as you grow as a sculptor, you can change the hardness of it by coming here to, to fall off making it hard smooth. So very similar concepts to working as a 2D artists with different paintbrushes. Now, the one thing that we're going to use a lot when it comes to brushes is actually this brush over here called a clay strips brush. You'll see over here in the properties that it has a whole bunch of presets that have changed here. So this is what makes this brush what it is. And here's a picture of what it looks like. Place trips, brush is the one you're going to be using to add a lot of rough strips of clay to your model. That's a very good brush for fleshing out. If that's a word I could use, that that's going to be the one we use quite often. And the thing that's really cool is if you hold Control or Command, whatever brush you're using, you can do the opposite action when you're holding in control or command. So just using the clay strips brush by itself and in holding control does the opposite action. And that's really cool Now whenever you're sculpting on top of a surface and moving topology around. You're going to notice that told us it can be a bit jaggedy. So there's also a tool called the smooth tool. You can come over here and just click on the smooth tool and use that. But alternatively, and this is what I strongly recommend whenever you're using a brush, it doesn't matter what brush when you need to smooth, instead of wasting time going to click on a smooth brush, just holding Shift, and then brush and automatically the tool you're using doesn't matter which one while you're holding and shift, it becomes a smooth tool like that. And that's a much better way to work because you're oftentimes going to want to smooth out strokes as you're busy working. So just keep those two brushes in mind for now to clays chip brush and this brush as well. But once again, like I said, holding shift is a better way to access the smooth brush while you're using the clay strips. So go ahead and just pause the video if you want to try out this clay strips brush on your model or your key blob whenever you're working on, it's just for practicing and try using smooth as you go. Try smoothing out the object while you're holding Shift. And then using the glaciers brush going over the surface to add in some stuff or holding in control of that tool to make a inverse of the tool. And that just gives you a really good feel for the brush. And once you're done with that partially fill a little bit more confident what you're gonna do is you're gonna go over here to another tool called the grabbed brush. Now to grab parsers, a really important brush when you first blocking things out, you're not going to use it a lot when you get into the finer details, but up front is very handy. So the way it works, if you come here to grab brush, you can essentially just grabbed geometry and move it. You had a difference between the Grab Brush and other brushes is that it doesn't use the dynamic topology. So in other words, when you're moving it around, It's just moving pre-existing topology. So it's going to stretch a lot. That can be good for you making little adjustments. You don't have to worry too much. But if you want to stretch something out with the Grab Brush and have it dynamically add in more sections. You're going to come to the brush just below it, actually just two below it called a snake hook tool. And at this pretty much the same thing. The only difference is it dynamically adds in more topology as you're going. So if you're making things like limbs or appendages, fingers, that's going to be the brush you really want to use for that. So keep practicing these two as well. So to grab brush for moving around little sections and the snake brush tool. And it's actually one of my favorite tools everybody I've ever talked to. The does sculpting. Absolutely loves this brush. It's just slow satisfying to extrude things. And so play around with what I just showed you and I'm also going to show you something as well quickly. We are currently working with constant detail, like I mentioned earlier. So if you go down to your dynamic topology, that's all good, but currently the resolution is a little bit low. So if we take this number here and we click and we typed in seven, and now we come here to paint. We have a little bit more resolution there. Don't worry, it'll still be consistent. So we don't have to worry about the relative distance. But if you need a little bit more or less, feel free to change this value, I wouldn't recommend going more than seven at the moment or less than free. But keeping that in mind, everything I've just shown you really get you understanding how we're gonna do sculpting without having to understand all of the other different brushes, just those few fundamental brushes. And understanding the dynamic poultry is what I really want to get across here in this video. Now one more thing, just in regards to the brushes. If you want to change the strength, you can come up here, but any brush and just change the strength up here so you can just click the slider and drag it and also to radius. The shortcut for that is F. F will change the scale. So f, very simple to remember. And Shift F, which is also really easy thing to remember. So Shift F will increase or decrease the strength. That's very easy to remember to try doing this without having to go back and forth to these two values and just use those shortcuts. Practice as much as you want. What I'm gonna do, in fact, on what, just use what we have here. I'm going to quickly explain something cold symmetry like I mentioned. So if we come down here, it doesn't matter what object to working with. You can come down to this option here called cemetery under the dynamic topology. And over here you have these values here. Now remember I mentioned in some previous videos to z, x and y coordinates, RDS, world axes that make up our 3D space. So if we're in a front orthographic view, when we hit one on the number pad to thing we're going to want to mirror on is what's called our x-axis. See that red line, that's x. And you can confirm that by looking up here and you should see the red is x. This is the positive value and that's the negative value. All you need to do is come here and click on mirror x. So that's what we want to use. Ideally, you'd start with an object that has symmetry like a cube and then enable this and it'll automatically do it. But if you've already sculpted something and you want to summarize it, you can just click here on symmetrized and it'll automatically symmetrized it. So in this case, it took the negative side of dx here and mirrored it over to decide maybe what you want, but what if you actually wanted to do it the other way around? So you want to decide to mirror there. Didn't you going to come here to the direction, and currently it's the x negative. So anything decide of dx is going here. So currently it's set to negative x 2 plus x. So you just come here and flip it around. Two plus x, two minus x. And now if you guys so much rise, this one, the positive gets flipped over onto the negative. It's not as confusing as it sounds. It's actually really simple, but just keep that in mind. That's going to be very handy when you get into sculpting and something you are going to use a lot. So that's all I really have to cover in this video. It's really that simple to get started with sculpting. I'm going to explain a few more details as we get into the actual head skull, but just practice the things that I just showed you. Getting a grasp of these basic brushes, how to set up symmetry, and just getting used to this handy little shortcuts that I've been showing you are really going to help develop you as a 3D sculptor. I look forward to see you guys in the next video where we finally get to do our heads sculpt. And it's gonna be a ton of fun. 6. The Head Rough Form: Welcome, and in this video, I'm going to show you how to sculpt the head. This is going to be the first part of sculpting the head where we just do the RREF form. Now, if you haven't seen any of the videos preceding this one, where we go over to user interface and basic navigation. This is say you're an absolute beginner. I definitely recommend you watch some of the first videos before getting to this part. If you already know a thing or two about Blender, then you can probably start watching this video. Now, once again, if you haven't seen the video where we set up this scene file here with the reference images or model sheets. You can go ahead and watch that. If you don't want to set up this blend file, you can just use the one that I'm going to provide in the resources folder. It'll be cold, something like head sculpt underscore, start file. And just in case you're starting to watch from this point and you haven't seen it. We're also going to be using this program called pure ref. It's 100% free, very quick to download. You don't have to use it, but if you download it, you can use the pure ref file that I'm going to be providing. So that's also going to be in the resources folder. And a cool thing is once you have that file open, the starter file for sculpting, and you have pure ref running as well. You can just go between these two if you need to have a look at the reference, the thing that's going to be a little bit confusing as I have two monitors. So I'll be looking at my references from time to time. But you won't see me actually opening this up. But if you don't have two monitors, you can just go back and forth between these two. Pause the video and just go back and have a look at a reference is still a big help to you. Now to model sheet is just going to be our overall guide for sculpting so we can get the form. And when we get into the real nitty-gritty details will be having a look at these reference images. So I hope that's been a little bit of a long intro for this video, but I just needed to get that out of the way. So let's jump right into that starter file and get sculpting. What we're gonna do is we're going to select the default cube and hit Delete on the keyboard. We're going to go Shift a, we're gonna go into a mesh ups and add a UV sphere. And they're wondering, why didn't I just add it into the startup file to begin with? And that's just to teach you in additional thing just in case you're not familiar with adding objects to the scene and deleting objects. Uv sphere is going to work a lot better to get started with our sculpting, especially for a head sort of that sphere active or selected. You're going to go to your sculpting workspace up here. So click on it. And here you can see all of the tools are set up and decide for us. If you cannot see that panel, you can hit T on the keyboard to toggle it on and off. You should also be able to see your radius and strength up here and over here, under the object properties, by default, this active tools and workspace settings should be opened up. And this is where we're going to see the different parameters. I am expecting that you know, at least the basics of what's going on in this workspace here. Now before we commence with any sculpting, we also want to come down under up parameters to the dynamic topology. Make sure to tick the little box. It will give it a warning because it's going to dynamically read topologies as a mesh. So go ahead and click OK and you can come to the drop down arrow under dynamic topology. Open that up and we're gonna go to our detailing. We don't want relative. For now. We want a nice constant dynamic topology. So we're gonna go to constant detail. And first starting point, a resolution of 12 will be okay. If you're struggling a little bit with the poor performance, you can go even to eight. Remember this is explained in more detail in the previous videos. But now as we sculpt dynamically add in our topology for us. So the brush we're going to get started with is the snake hook tool. So come over here to your brushes and click on the snake hook tool. It's the moment, it's a little bit small. So I'm going to go f. F is the shortcut key to grow the brush size. So bad that much. You can come here, drag the slider if you wish. It's just much easier to use the shortcut key and a string. We could leave at a full strength of one at the moment because we're going to be making quite drastic alterations. So hit one on the number pad to go into different orthographic view. And you should see the front view of the model sheet could just drag the whole sphere up to where to head sphere is here and to reference quickly go back to to lay out your sphere should still be active. Just hit one to get your front or for graphic view. And then go G, Z and just move it up and an S to scale. So back to the sculpting workspace and sphere, isn't that properly positioned? We have a snake hook tool. Dynamic topology is disabled because we went back out of sculpting mode. Go ahead and just click on it again. Okay, and the setting zeros still the same. And we also want some symmetry, so we want it to be the same on both sides. So I'm gonna go down to our symmetry and we're gonna go to the mirror and make it the x, because the x is this red one. You can see up here on this little gizmo, anything we change on either side, we want to happen on the side opposite of it, on that X, they're going to grab the front of the bowl here just at the bottom. And I click on it and we're going to drag down too much about that much. We're gonna go F and grow to brush even bigger like there again and drag it down even further. And all we're doing is bringing that one part of the sphere down to fill in the bottom of the face. Now we can fill into chicks are a little bit so we can go F to shrink it a bit. It doesn't matter which side you do it because it's mirrored on dx. Or we can now grab these checks and just slowly drag them out like that. So let's hit F3 on the number pad to go into the right or for graphic view. And we're going to grab the front of the face here and just drag it out a little bit. Don't worry about getting it to match the details here. It's just a rough form we're establishing. So very simple. And let's fill in the back of the head here. To do that, we need to grow to brush just a little bit by hitting F, grow, read a bit more, grabbed a Beckett ahead and slowly, little by little. Just pull that geometry back. And then come here to, to back it ahead. Fill that in. And then we can shrink it a little bit by hitting F Again, just shrinking it about that much. And now we can start dragging this volume of the sphere here, the bottom part of it, down bit by bit to make the neck. So all we're doing is clicking and dragging and it's automatically filling in that topology for us. So just little by little, drag it. Feel free to adjust the size as you go. So it's not grabbing too much or too little, but just something like that. And it's looking pretty good from the side. But if you now go into the front, you can see the neck is quite skinny. So into front view, you can just grab that bottom part and drag it out little by little. One on the number pad takes you into front or for graphic. And we're slowly just going to move the volume of that neck out in front of you. Bringing that up a little bit F to shrink. And this is bringing the bottom of the shoulders out just a little bit, like sorry. So free on the number pad to go into the right again. And all we're doing at this point, it's just going back and forth and just slightly adjusting the mesh here we've asked snake hook tool, adjusting the size of the brush when needed with the F shortcut and just filling in that space. You can also just move around in the 3D space and just fill out these bits here a little bit on the shoulder. And also you can just come here to the neck, the back, and just pop that out a little bit. Just drag that geometry out. So it's not in too much, we don't want to pinch over here, choose rounding and neck out just a little bit. Tiny little adjustments are old that are needed and there we have it. That is all we did just now was just a few basic moves. But we now have the rough form of the head, the really rough form established what we're gonna do now. Clay strips brush is rule, refined this rough shape a little bit more before going on to the next part. But you can already see just how easy it is with just some basic brushes to start developing the form of the model. Okay, so I need to quickly explain something while I'm recording part of this video, my computer crashed and I lost some of the work, so I had to go back a few steps and just correct what I did here with the mesh that looks at tiny bit different, but it's still more or less the same. And what I was going to say is we're gonna go over here to our place, rips brush. And I'm also going to quickly just mention up here to sphere is currently just sitting here in the outliner when we added it in. So just click on it and make sure just to drag that into the main collection at the top and then just click on the little arrow there just to drop it down. And now it's a bit more organized. We're going to now use a clean brush, like I said it to define a shape a little bit more, but I want to explain something real quick because I don't want you guys just copying a tutorial. I want you guys to learn something. So if you open up the provided reference board to pure ref reference board, you're going to see some references of the faces here. And now the thing with faces, especially human faces, and this is where beginners really miss it sometimes. And this is what I want to emphasize. A model sheet is really good for getting you to make domain shape of the face. But if you look at this head, even though it looks good from the front and a side. As far as a model sheets here go, it just doesn't have the proper depth and structure that a real face has. And that's why using a model sheet in conjunction with a reference board is really important because human heads are not just round Ullman shapes. They have valleys, they have eye sockets, and they're structured as a jaw line. There's a squareness to certain parts of the head and that's what we really need to capture. So we're just gonna make the basic indentation there. It's pretty simple, but I want you guys to understand that. So just go back and forth between the two files. We can zoom in, have a look at yourself familiar with constructors. You understand why you're sculpting, what you're sculpting and you're not just doing it because somebody on it tutorial said this. So the first thing we're going to tackle here is just the eye socket here. So let's go back into a blend follows. We have a clay strips brush, and if you hit F on your keyboard, you can shrink the brush and let's make the brush a little bit smaller and a strength. Let's make it, you can leave it at about 0.5. Once again, shift f will control the strength, but just somewhere in the mid-range. And what we're gonna do is we're going to come here and hold in control because we don't want to add a strip, we're going to actually do an inverse. So control or command does an inverse. And what we're gonna do is we're just going to come here and just make a little divot like that, just one little trench. And then if you hold down shift and you just click and used to smooth brush and shift. Hold it in and just gently smooth out that surface. And already now have a look at your reference board and you can see what I'm talking about and not just trying to work solely off of the modal shape, but we want to understand the structure. So it'll have a look at that valley here and the eye socket. And here you can see it as well. So another thing you probably notice here is this is looking a little bit too blobby around the jaw line to want to square that up a little bit. We're once again going to use to clay strips brush. It's excellent. Put a sort of thing so we can shrink it a little bit by hitting F and a strength is fine where it is and when it come here and to draw a line and we're going to make just a simple strip coming up like this. So just a nice little strip along there. Don't care too thick or too heavy and then it just lifts up like that. See you that over there. Then you can fill it in just a little bit holding Shift and just do some lights moving passes, just surround him. But don't get rid of that detail, you just add it. We want that definition here in the jawline. A very big mistake that beginners make oftentimes is too much roundness. And if you really want to learn to emphasize those facial structures and a reference board is going to be your best friend. Always have one open add to it. Learn the structures of the face. In fact, look at the front on image here you'll see if you zoom into, this is not round, is actually a structure that's squareness and agile. You can also define that a little bit more. Coming to this tool over here, and I'll quickly mention, and this is called a crease brush. So just click on it. And with this one we don't have to do an inverse, but we're going to come here to the bottom of the neck. I want to just start here and we'll just gonna make it crease. Now if this one you can make it a little bit stronger. So hit Shift F and make it quite strong. And then you can just go around and just one little pass like that. And then holding Shift again and just do a little smooth. And now we've just defined that a little bit more. It's not perfect. It's just developing a rough form such as back to the clay strips. This is also add a little bit more volume to the cheek here, just a little bit more volume right here. And then once again holding Shift and just to a little smooth path, just to smooth it out but don't get rid of the details. So now to face doesn't just look like an element, it has a bit of structure to it. So now we have that established and in the next video, now that we have a solid base to work on, we're going to start creating those initial facial structures like the nose, the mouth, the eyes, and bolts of characteristics that make to face what it is. This is the very important thing I want you guys to also remember when it comes to sculpting. We don't want to get straight into the nose, straight into the details. This is a very big mistake people make. It isn't far more important to get the structure established. And then you have something solid to build on top of. And it's gonna make sense if we were to make the nose right up front, say for example, we just made a extrusion come out here and we might the nose. Now when we wanna make big adjustments to the face and the shape of it, we're going to destroy all of the finer details that we made. So that's one thing I can get you guys to take away from that, using the references and building a solid foundation, then that would be a really good thing. I look forward to seeing you guys in the next video. And remember, the blend files are provided. So pop right in there, have looked at what I did and hopefully they're a big help to you guys. 7. The Head Features: So welcome to the part where I'm gonna be showing you guys how to sculpt the facial features themselves. In the previous lesson, we made do a rough form. But when it comes to making the actual facial features like the nose, the mouth, the ears. We're going to also simplify them at first and then build on top of the simpler form. Make sure that you've been saving your files as you go. Also make sure that dynamic topology is still enabled if you ever go into edit mode or you change modes up here, it automatically disables dynamic topology. So just keep that in mind. You always want to make sure it's ticked over here. Once again, I do have my screencast keys enable if you're following along. So the tool we're going to be using is still our trusty clay strips brush. It's the brush we really use for most of the work we do. We have sculpting and I would argue is probably wanted a more versatile brushes you can use. The nose is a really good starting point because it's a good reference point as well. It's right in the middle of the face. And once you have that established, it's much easier to set up the eyes and the mouth eyes. So we're gonna go to this tool here, and that's called the in-flight tool. And essentially it makes kind of like a bubble. So hit one to guide your front orthographic view. If you want to see the model shape, you can hit Z and you can go to wireframe. And you should be able to see, um, what we're gonna do is we're going to slowly start painting here. And you can't really see much happening. Paint a little bit and hit Z and then go solid through, started to make a bold share. If you'd go free and you're going to your right orthographic view, you can see what's happening. So what we're gonna do, we're gonna keep building on this bulge. And you can see here that the triangles are looking a little bit big so it can't get too much detail in. And if you recall from the previous version, under our dynamic topology, we set the detailing to constant detail, which means it doesn't matter where we are located. It's going to always be the same size. Let's come to the resolution. And for now, we're going to keep it at 30, which is gonna give us a finer mesh. So if you now paint, you can see it's smaller triangles. So let's keep working on this little bulb. So just making little circular passes, getting into the right or for graphically, just to see how it's looking like. And let's just go a little bit more. Okay, So now that's looking about right. And then we're going to go to a place, trips, brush, and we're going to make a bridge that goes from this protrusion up to the top of the denotes here to just underneath the eye averages. So we're going to start right down here and just go up. And a strength is currently set to 0.5. So Shift F if you need to adjust it and we're just going to make some nice gentle strips going back and forth like that. Okay. Now don't get too excited and just really layer it just kind of little by little. So you can go to the right view. You can already see, we've got a little bit off going a little bit over there, but not too big of a deal. So I'm going to start just making more of a bridge up here like that. Almost picture a little V structure. And if we could click, go back to our modal shape. As you recall from the earlier part, we were looking at our pure ref, reference board. Let's actually look at the bridge of the nose here and you can see it's more square looking down, it actually is around. So this part at the front is a little bit more flat. Probably demonstrate that by zooming in a little bit closer to a front view. You can see this area here is almost like a flat plane. So you could almost break those down into planes more than it is actually a perfectly rounded or dumped surface or, or curved surface is almost like an edge can say. And that's what we want to keep in mind. So we don't get a flat, bland looking knows we want that detailed air. It's very important, but we don't want to overdo that sharpness otherwise it looks too stylized and ultra realistic to what we see in a realistic reference. So going back to the right orthographic view, we can see that's matching up a lot better if you need to adjust, you can just go to the grabbed brush over here and grow decides by hitting F and just make the little adjustments as needed. But over here we just want to establish the initial design. We're not interested in doing fine detailing. Always building the initial idea. And you can hit Shift, so holding Shift and just lightly smooth out by clicking. And that's already looking good. But what it is, but we still need to add a few more details. Let's get back to our in-flight tool and we're going to hit F to shrink it a lot smaller. And when it come here to decide and we're gonna make a little bit of a bowl like this. Not too much. And you should see on the outer side. All right, and we're going to define it a little bit more around the edge by coming to our crease brush. So come to decrease brush. You can bring the strength down. So Shift F, just bring that strength down a little bit on a crease brush. And we're going to come to a dynamic topology and let's give it a resolution of 45. And we're going to come in just over just bold we've made here and just making some passes. We have that crease brush or just a little bit of a crease coming in here and then holding shift, just move around it like that. Now it's a little bit more defined, still holding shift, just doing some little smoothing passes over here on the end, blending the tip of the nose into the bridge here. We don't want to flatten it out too much everywhere, so just be careful of that. Once again, just go back to your reference, make sure to look at it. And you can see here that this bulb here is a lot more smoother than the bridge part here, which is a little bit more of an edge to it. So make sure just to blend that in carefully, we don't want to lose that detail. It's also a little bit more of a defined edge here and a tip of the nose. I don't know if you can see that or not. But maybe here you can see it a little bit better. So let's try and incorporate that into the sculpt here. But coming to the front, Let's go to our class trips and just do a little past edge just to define that a little bit more holding Shift and just give it a lot smoother. Now before we add any more strips of clay, well, Let's quickly get to grab brush and just make some side correction. So hit free to go into the right orthographic view, go back into dereference board and have a look at the side view of deniers. And we can see that there is a bit of a bulbous shape happening at a bottom of tinnitus. You've got the main bulb of the nose and it has a little protrusion, it comes out. But if you look at al sculpt good, sitting a little bit too forward. So we have to grab brush enabled. We're going to hit F to grow quite big. And we're just going to move that topology back a little bit like that, just little by little, just moving it back. And we're going to also shrink it a bit and just make the bulb a little bit more defined at the top, try to match it with our reference. And then we're going to just talk this often those up down here, just tuck it up to sharpen it a little bit. And about they're just under debt protrusion here it is bold. That is where we're going to have the whole of the nose. So just drag this part down just a little bit. Make sure to look at your references. Don't just guess what you're doing. Just look at the shape and try and match it as best you can. We have to grab tool, just little adjustments so all you need, okay, so that's what we're looking at a lot better. Just going to lift that. So let's make the nose hole. So what we're gonna do is we're gonna go to our in-flight tool. We're going to hit F to shrink the brush and we're going to hold in control or command. And that'll allow us to inverse that in-flight. And let's just increase the strength all the way up to one. And let's just make that hold air for the noise. So holding control. And now we have that setup guide to your right view. And you can say that should match up. Now we have our reference a look better and that looks a lot more accurate. I guess I'll think I've spent enough time on that general design of the noise. We definitely will polish it a little bit later on, but we're just establishing domain features hairs. So now that we have our nose, we have a good reference point. It matches up well with our model sheet and our references. Let's start with the mouth. And the mouth is actually in my opinion a little bit simpler. So we're going to go to our crease brush. I'm going to hit F and make it a lot smaller, but we wanna make sure to strength is nice and high on that crease brush. And you can hit Z go wireframe and you can see what a Malthus and let's just make a crease. If it's too strong, she's less than it. Just making a bit of a crazy like that, what a mouth is. We don't want to make too much of a smile. We're not trying to get an emotion here, but just making a nice simple crease where our references got to a right view. And you can see that looks about right. But we do need to create a lip. So the way we do that, we're going to go to a place strips brush. And we want to not look right front on. We want to look almost a little bit up when a grown-up brush by hitting F. And let's decrease that strength a bit. And we're going to hold shift. And we're gonna just do a few smoothing passes just to flatten those out. And we're going to look down now. And at about a 45 angle looking down at that corner, we're just going to slightly flatten it. But at the moment ellipse just look too flat. Now, did we smoothed it? We can add some clay strips. So just gentle little passes, passes without clay strips brush and we don't wanna go too flat. We almost want to make it like a bit of an m. So picture like an N because up and down like that, almost like a mustache. And as always as you're doing this, you'll free to pause if you have to look at references. References are very important. That's one thing I want to keep emphasizing, right? See how the surfaces of the lip look and how they fold into each other. They continue to smooth it out a bit. Add some more strips, and come down here, add a few more strips. And if you need to, you can get the grabbed brush, hit F to grow it, and you can pull that out a little bit. But what we need to do when you grab the corner of the mouth and just tuck that back a little bit as well, just making that slight little adjustment, bringing that corner down. And you can see how the shape is starting to form here, bringing that lip out just a little bit. And I am looking at my references as I'm doing this on my other monitor, every guy and you should see almost like a triangular shape here, but different lip here should fall down a little bit. It shouldn't be too bolus or flat. And this one here should be a little bit more rounded and not as angled in as the top lip. And that's definitely something you'll notice when you look at a lot of reference images of lips back to the front and just grabbing that crease brush one more time, going to hit F to shrink it. And this just make a crease underneath here just to define that a little bit more increased the strength. Just like little passes, don't overdo it, shift and smooth it out a bit. So just adding a little bit more definition to that lip now it's by no means perfect. But you can already see where we're going with this, okay. I just wanna make a few corrections. Have to know it's just a few minor ones that get to grab brush and zoom in. And let's just bring this bottom part of the nose. Just bring it up. Just a little bit more. Grabs this, bring it in and just take the tip it at bulb down, just tiny little adjustments. Once again, have a look at your references as you're doing this. But we don't want to spit here to be too wide. As it goes further out towards the tip, it bends out more and as it comes back down to the face, it goes out more display. We don't want this to be two stripes to just have a look at your reference images and you'll see what I mean. So that looks a lot better. We'll define some to shape a little bit later on. But now we have the mouth and the nose pretty much established, at least a rough form. So what we're gonna do now is make the ears and just to find the area eyes are going to set now I'm going to time-lapse stamp. So in other words, I'm going to speed it up just a little bit, but I will now write what I'm doing. And we're gonna be using the exact same tools and techniques. And if you've been able to make the nose and mouth so far, you'll be able to do to recitative things that I'm going to do in time-lapse because they're really simple compared to the nose and mouth. So you've kind of done the hard part at this point. I'm going to be primarily using the clay strips brush to get started. We have a smaller size and about a medium strength. So using the clays to brush, I'm going to add a little bit more definition to the cheek bones by adding a field trips and then smoothing them out. Smooth tool using the same clay strips, brush and holding in-control for the inverse. I'm just going to hold the eye away a little bit where it will later said We will make the eye lids in the next part, but we're just trying to define the structure day a little bit more. And I am looking at my reference images while I'm doing this. And the same with the, I would just stare at the top bread eyebrows would sit, just defining them a little bit more with the clay strips brush going back and forth to my reference images to make sure everything looks okay. Now these edits are very minor to just little details. Beefing up areas that need a little bit more meatiness to them and getting rid of the excess of bulk. Like for example here you can see I'm just defining those cheekbones just a little bit more and giving a little bit more volume to those cheeks and interest to finding the joy on down below, just using the place troops brushed her and the smooth tool here you can see that the chin in particular is a little bit too bulbous services flattening it out there as well. Okay. So now that we have the eye area established, what we did is made a little bit more defined and just extended the cheeks a little bit here just to make them come forward a bit. Once again, old the spaced on the reference images. So we're making sure we are accurate with the references. What we're gonna do now is make the ear. But with the ear, we're not going to go very realistic when it just make that a lot more basic, almost a little bit more stylized. So we're gonna go into right or for graphically by hitting three on the number pad, you can hit Z and N go wireframe and shrink the brush. Currently I have the dynamic topology set to 30 and 12 brush about this big and what you're gonna do, she's going to start painting just so you know where to start. And once you start it you can hit C and go solid. And we're just drawing this kind of like almost like a question mark on an angle. You can increase the strength and we're just going to keep going. And then we're gonna go to our front view by hitting one on a number pad. And we can see where we want that to be so that it's not out enough yet. So we're just going to keep building up. You can increase the strength as much as you need to. We're just extending that. Okay, you can see what's happening here. And it looks really bad at the moment, but we're just getting that ear out and go back to the front view and you should start seeing it grow. One thing you can do to speed things up is get the snake hook tool, grow to brush a bit and from your front view, just start pulling that ear out just a little bit. But be careful don't want to overdo it. Makes sure the brush is small enough so you don't poo to ear along with it, but we're just bringing that mass out and don't worry if it looks a mess at first. We're just trying to establish the initial shape. So that all up. Just bringing it. I didn't go back and forth between the front and the side view. And just bring that all backup the ear, just tuck it in and you can see how we're just using those two simple brushes to make our air, we can talk that skin behind the ear just to define it back a little bit more. And let's pull out. And so this is something you can spend as much time as you want with. But I'm going to keep this ear very simple. We're not gonna be doing any of the complex little features inside of the ear because the hair will be covering it anyway. But we're just keeping it really simple. Holding shift. I'm just moving it a little bit. Yeah. Stair is to rough ER in place will always refine it a little bit more in the next video, but that's how simply eras. I mean, I didn't even have to time-lapse that. I just took a few minutes. But that's pretty much out features done. What we're gonna do in the next video is we're going to polish it up a little bit, but we're 90% of the way there. And another thing you can do is if you're comfortable and you feel like you have to size of the topology figured out. You can just come here to dynamic topology and go smooth shading. And the reason I didn't have that enabled from the beginning is just when you're getting started. I want you guys to be able to see the little triangle so you know, you don't have too much of a dense geometry or too big of a geometry, it can be a little bit hard to gauge when you have the smooth shading on any Can't see it. A little polygons that make up your mesh. But if anything has been confusing, Check out to provide it blend files. I have all of the stuff in the resources, so you can open it up. You can see exactly what I did. Very simple techniques and tools. Nothing that I've used in the time lapses is anything different that I haven't shown you guys how to do. I look forward to seeing you in the next part and thank you for watching. 8. The Head Polish: In a previous part, we were able to add some of our features to our sculpt. And what we're gonna do now is the polishing off where we make it look really nice. And rules are going to be adding the eyes and the eyelids. And the reason I decided not to add them in the previous part with the facial features is because I feel like they need a little bit more touching up a little bit more detail and attention and somebody other features. So I'm going to just take it nice and slow and explained to you guys how you can make them, make sure you have your reference images handy. And let's get started. So we're just going to quickly go back to our layout here. So click on the Layout tab up here. We're gonna go Shift a and we're going to go up to mesh. And the option we're going to choose is UV sphere. End of that UV sphere active, you can go right-click and just click on the option called shades move and it has some nice smooth viewport shading. We're now going to go S to scale and just scale that down to about here. We're going to go G to move and in Y to restrict that movement to the y-axis and move it forward. And then we're gonna hit free on a number pad to go into an orthographic view. And we're gonna go G and we're just moving it up to here. And then one on the number pad to go into the front view. And we're gonna go g x and move it along the x. Now one of the things we're going to have to do is open up our trusty reference images. Once again, the pure ref reference board is provided in the resources folder. And let's have a look at the eyes. We can see where to place. Notice scale of the eyes is important. We don't want to make them too small and we don't want to make them too big unless we're stylizing a character that might be something you want to do. We're going for more realistic look here. So a size of about that much is okay. And then what we're gonna do once we have the size, figure it out, is we're gonna go into our right off of graphic view and let's just move that back. You can also just hit G and why to do it more simply. And we're going to move it in about there, back to the front. And it is exactly where it needs to be. Now, we need to mirror this. I select the I go to this tab here, that's your modifiers. We're going to give this a modifier bigger and add modifier. And let's go give it a mirror. And what we can do is click on this little eyedropper and we're going to select a reference objects. Let's select the head. Now. It's going to place the eyes exactly parallel to each other on the x-axis. Let's select our model again, and let's just go back into our sculpting workspace. And you're going to have to make sure that dynamic topology is unable to. It's going to give you the same morning and it's gonna go, Okay, let's go to our clay strips brush. And what we're gonna do is when you go into a front orthographic view and we're going to hold down control or command, and we're just going to remove some of the excess material in front of the eye. You can then holding Shift and just smooth out any of those rough edits. And now it should be a little bit more open. Then come to the corner here and hold down control and just make a little bit of a divot there. Holding control to make an inverse of the clay strips brush. Now Do you have debt? And what you're gonna do is you're going to shrink the clay strips brush by hitting F and shrinking it. But you're going to go Shift F and you can grow to strength old way to one. And when it come here to the corner of the eye and we're gonna start adding some strips of clay all the way around like this. Now we need a little bit more geometry to work with. So let's go to our dynamic typology and let's make the resolution 50 in this case. And now let's do that again. Click and drag and add in a strip of clay, like half an element. And then we're gonna come in here and do the same thing. One pass and then grow to brush a little bit and then just another pass. Like that. We're then gonna come closer in to the eye and then more downward angle. We're gonna shrink the brush a little bit. Now we're going to add strip of clay along this ridge here. Just go a few passes, adding some strips of clay. I like that. You can see we're just defining that eyelid now. And then we're going to come here to the corner and just make it a little bit of an eyelid over there. We can now holding Shift and just do a light smooth pass down here as well. Just smooth it out while you're holding shift. I can see what I already have two bottom eyelid. And let's do the same thing here at the top, we're going to hold in shifts starting over here, and we're just going to smooth that out already. We have our basic eyelid, not a tool we're going to now use is just our in-flight tool. And we're just going to come in here. We're going to make sure it's nice and small. Make sure to strength is all the way to one and we're just going to go around and just in flight, the eyelid just a little bit like that. Working our way down and make sure to look at your reference images as you go. Now we're not going to make these 100% detailed of all the little folds and everything, but we're just trying to get that eyelid feel happening here and that's looking pretty cool now at this point that we have two general shape. Do I established we can go to our dynamic topology and this time we're going to change the detailing to relatives. Now the closer we come in to finer dynamic topology is going to be. So we can have smoother, more detailed surfaces. So we're gonna start over here just going along, let's use the clay strips brush for that. Let's take the strength down and we're just gonna do a gentle pass like that. Now, just holding and shifts, move it out. Now you can see that looks a lot less jaggedy then before. And do the same thing at the bottom. Just one Passover. And then holding shift and just do a nice smooth pass. So just in a few quick minutes, I've made the eyelids here and made some little adjustments. It's now just a matter of polishing the surface. They're gonna give you a few tips and how you can do that. So let's go to the clay strips brush and what you're gonna do, you're gonna set that clay strips brush down to very low strength. You're going to come here back to your relative detail. Under the dynamic topology and changed it to constant detail. Now if you hit Z and you're going to wireframe and you're going to notice that most of your topology is not that dense, but she started getting around some of the detailed parts like the eyelids. It starts getting really dense because we use the relative detail. So we've got closer and closer and it added in more topology dynamically. So what you can do is with a set resolution. So if we click somewhere, you can see at the moment the constant is set at 50. So let's make that property. What you want to do is find something that you think is a good in-between. Fruity seems to be about good. So you're just gonna do light little passes, refining the shape of the head. You really have to look at your references, come back into your blend file and then smooth out the surfaces. It just doing a light little passwords the clay strips to add volume where it's needed. So this is pretty much just a matter now, if adding volume and taking volume and smoothing out surfaces. And this is something that you can do really easily without having to watch a step-by-step tutorial. What I'm gonna do now is I'm just going to time-lapse this part, but I'm just going to explain some basic things while I'm doing that. But pretty much we are done with our character at this point. It really is up to you how much you want to smooth things out. How much do you want to polish things and developed the quality of the sculpt? Now I'm getting started with the details on the back of the head. I feel like a volume just needs to be extended a little bit. It feels a little bit too flat. And also the back of the neck felt a little bit flat. So looking at some references, I tried to make the structures, the muscle and tendon structures did you see in the back of the neck? And I was just a few simple strips that are laid down and smoothed out. And the same thing here at the front. I'm not really trying to make clavicles here, but just bringing that chest out a little bit more. I also just did a quick correction on the jaw here. I felt like it just needed to be emphasized a little bit more, especially around the corners. It was a little bit flat, so just a few light strips of clay and a light smooth. And then I did a few corrections on the nose. Now when you're getting to define detailing on a nose, makes sure that you have some reference images of a nose. The nose tends to be one of those more complicated structures. So it's not just a matter of me showing you, put a strip here, put a strip there. You really need to study the anatomy of the nose. And it's a lot of complicated little structures underneath denotes that give it a unique kind of shapes and different people are going to have this emphasized in a different way. Likewise, the mouth is going to be one of those things. We're also going to have to look at some references. But in this case I was just using my crease brush primarily just to tighten up some of the areas in the mouth. And I'm just using the smooth process related to clean up where it is jaggedy areas and also just a clay strips brush was also used to when I needed to make some more volume in certain places. The graph brushes also really handy if you just want to slide things around. In this case, I went onto the ear of that and I just moved somebody topology around just correcting it a little bit. Now keep in mind the ear will not be seen so much, so don't worry too much about it. I also just went on then to correct the shape on the base a little bit. And this part isn't really something you have to do to the degree I did. I just like to sharpen that up at the bottom a little bit. I was just using the simple grab brush and just dragging down the client little by little, just to sharpen the edge there and define it in a way that I felt looked a little bit more attractive on to sculpt. But overall, the things I'm doing here are just a little nitpicky things that you don't have to go to the same extent is try and practice some of the main things and get to genital thing established that you're trying to sculpt. Now I'm not gonna go too much further at this point. I will stop the time-lapse and just to finish off something. Finally, after a whole bunch of polishing and refining edges with the exact same basic tools that I've shown you. This is the result and it can definitely be polished even more and pushed even further. But this is as far as I'm gonna be taking it and I'm challenging you guys to push yourself as well. This is not about getting you to make the exact same thing that I made to the exact same level. I'm trying to get you to learn the basic principles, apply them. Do your research, look at the reference images and see how good you can make the thing look that you're trying to sculpt. In. The next part, we're gonna be adding some basic hair with curves. In Blender. We're not going to be sculpting two hairs, but this is a really good way of working and it goes really well with Al sculpting style. Whatever you've done so far, make sure to save it. And if you haven't gotten this far with the sculpting, I will be providing the blend files as we've been going. So definitely check that out in the resources. And congratulations on making it this far fewer, especially if you're new. And this has been a big challenge to you. Congratulations. It's a really good thing that you're trying. 9. Hair With Curves: In this part I'm gonna be showing you guys how to use curves to make some simple hair. Now I'm gonna be showing you how to add into curves, how to edit them. But the overall process, I will time-lapse and explain a few basic things, but it's at this point where you guys can start making it your own and you don't have to follow every little steps. I'll explain what you need to know and then I'll show you how I did. It just makes sure that the eyes that we've added in, remember we added in a sphere, you can just click on it and just drag it into the main collection. I should, should be there. I have disabled the references. We don't need to see that. And what we're gonna do now is start adding in our splines. We're going to go Shift a, gonna go to this thing here called curves. I'm going to go and we're gonna get a path to add an a path. And we're going to go G and just move it over to the side, doesn't matter where you move it, just G and move it over and then go Shift a again, go to your curves and add in a circle. And you can go G and bring it up here. And you're going to click on this path. You're going to go to your object data properties for the curves over here, and didn't going to scroll down to the bevel option here under the geometry and change it to Object. Click on the little eyedropper and the object is gonna be that sphere. Now essentially what's happening is this path is taking this object here it is two-dimensional circle and it's just extruding it across the length of itself. Though, if we take this circle over here when we tab into edit mode, so just hit the tab key of it active. Go to your top orthographic view by hitting seven on a number of Pat. And you can just select this part here and then go G and just move it in to make a shape. And now you can see what's happening. Debt shape is updating over there. We can also select this point over here, so just select it. And then you can go S to scale and sharpen that up a bit. Select this point here, S to sharpen the bit. And this one here, S and sharpen that a bit. Scrub this one, bring it up and we're just creating a little bit of a different shape, almost a bit of a planet ships. So what we're gonna do is we're going to grab this path and we're gonna go our x 90, I'm going to hit Enter and then our y 90 and we're going to hit Enter. And at the moment the ends are open. So we're gonna go here with this path active, and we're gonna go over to our object data properties for the path. And we're gonna go to the bevel option here and an under-damped busier circle selection. We made an object just tick this box called fill caps. Now two ends are filled tab into edit mode of deselected. And now we're gonna select these points are they're also known as handles. And if you go Alt S in here and you have to go Alt S not S, you can scale points. So let's select the bottom one as well, holt S and scale. And now we're creating more of a planted look to this. Select a point here, move it in. You can see we're creating this strand looking shape. You can select any points you want anytime and make edits if Alt S and you can simply just move them around as well. This is pretty much going to be the basis for our hair. Also, see the little orange dot floating right there in 3D space. If you go back into object mode by hitting Tab and you rotate, you just hit R to write it, you can see everything pivots around that. So what we want in edit mode, if you want to select all of our points and we want to just go into our left or for graphic by going control free or Command F3. And we're gonna go G and just move it down. So the top handle is sitting right underneath that orange dot or just roundabout there and also from the front. And the reason we're doing that, if you're not hit Tab to go into object mode again, and we hit R to write it. It should be rotating around that point. And that's just going to make placement of this hair curve a little bit easier. So let's go to our front view by hitting one on the number pad, Shift D to duplicate it. And this one here, it's just gonna be our control. So I'm not going to change, I just move it over to the side, grab the duplicated hair curve and scale it down, and then go G and move it over here. Now, this is important because we're gonna be adding materials to all of this later in a portrait render. Before we duplicate this, a whole bunch of times, Let's just go and click with it active on this little tab here called Materials tab, click New, and it's just added a placeholder material. If this curve here now active, you can either hit G to move things. And I recommend that you can also just make sure your move tool is active and use the handles. So if that's easier for you, but just hitting G and R and S to scale, those are gonna be the best ways to go. So what I'm gonna do at this point now is I'm going to speed this up a little bit after I've shown you just a fingertip. But I'll explain what I'm doing. But essentially we're just taking this now, we're rotating it and replacing it. And we're going to make a whole bunch of duplication. So after you've placed it somewhere, you can go Shift D to duplicate it, move it over R to rotate, and you can go into different views. You can already see what the idea is here. Duplicate by going shift D scale. And once you want to have a bit more of an edit, you can tab into edit mode. You can select the points or the handles in here and adjust them a little bit like that. If you need more handles, you can also just select the end handles so you can go e to extrude them to get a little bit more finer control. We can already see how cool this is. Alt S will scale a point. This also keeps that in mind. Maybe to scale those. And you can already see the points. So what I'm gonna do now is now that you know how to do two curves, how to edit them, and how simple it is. I can time-lapse this and you guys can follow along and get the general idea. I'll also just quickly mention, and this is important. This can get very dense, geometrically speaking, very quickly, what you may have to do if you don't want to get lagged is select to reference curve object with just a circle here and go over to your properties here. For that, you're going to go over to shape and go under the resolution preview and change that something like two for now because we wanted this to be relatively low. Otherwise, this is going to get very dense quickly and you're gonna get a lot of lag, especially if you're running a powerful computer. You can do the same thing by selecting these actual hair splines themselves. And you can go to dare shape and go to the resolution and change that to something like five. But doesn't have to go to lab. It's something like five should be okay. Otherwise is really going to get dense really quickly. Just so you notice, well, we have the model that we sculpted, what I've gone and done, and this isn't absolutely necessary, but I went to my modifiers and I gave it a modifier called a decimate that it's this one right here. I just left it on collapse, but I changed this ratio here. And what that does is it decimates the mesh and changes it for you automatically and it makes it more consistent based on that value here. And that can also just help make them model a little bit less dense with geometry and also even out the size of the faces. And it's something that's non-destructive. So you can click on the little view here and you'll see what the original sculpt look like. And then you can click on a window and you can see what it looks like. We have to decimate modifier. The only trade-off here, by the way, it is that you may lose a little bit of sharpness and detail which you can see I have around the nose and the lips, but that's a trade-off I'm willing to make for a little bit of better performance and it doesn't actually look too bad. Let's get into the time-lapse and I hope you guys enjoy. I started duplicating the main shapes here and just making the fringe at the frontier, I went into edit mode and just individually selected a handles, changing them a little bit and not trying to make them look exactly the same on both sides. But this part of the French, especially different. We want it to be as random on both sides. We definitely don't want symmetry, though when we get to somebody other parts, we will use dance to save a little bit of time. You can now see that I've started to establish a little bit of a French here. Now the thing is at a certain point when we're making duplications and moving them around and we wrote it and we're gonna start getting limited with the rotation of the actual curve itself. What you can do is in edit mode with all the handles active, you can go Control T or Command T. That'll allow you to add rotation to the individual handles themselves. And that can be very handy for changing the orientation of the actual curve within edit mode, you can also, at any point if you need more geometry, you can grab a handle and you can go to Extrude, extruded out to have more to work with. And this can be really handy for making your hair longer, where it needs to be longer. And if you needed to, you can also select a point at any time. And you can also hit Delete. And then just say delete vertices, and then just change a point. So there's all of these different options you have with how you can edit the hair. Very simple things to remember, but it is now just going to be a matter of making circular right around the top of the head and filling in that space. So I'm going to just kick it back into time-lapse. In edit mode. I just took the curve that I duplicated and I just moved the points out a little bit towards the bottom, making it a little bit longer and changing some at a scale. You can also extrude points as you go. I'm just trying to get to this part where the fringe blends kind of entity ear on the side of the head, establish and keeping the shapes very simple. So at this point you could probably see here that I've made it only on one slide here. So what I'm gonna do, I'm gonna hold down shift and select all of the side pieces here. I'm going to go Control J or Command J, and that's going to join them all into one group. And you can see I have this little blue button up here and able that is called proportional editing. And essentially if you click on a point, we have that enabled, you can hit G and it'll have a falloff effect on the rest of the handles. You can also come here and make it connected only. And that'll only affect the strand that it's connected to. When you're using proportional editing, when you're moving something, you can also roll the middle mouse button to control the falloff. That's a handy tool as well, but for now I'm just going to disable it. And when you join them altogether, some of the things that are going to change a little bit so you can just click on any handle point and go Control L or Command L, and that'll select the whole thing by itself. You can go Control T or Command T and then just rotate and correct and then go to the next one and do the exact same thing. And that's just makes them all into one group. What you can do now is you can select the whole group in object mode and just go and give it a mirror modifier. Click on the eyedropper here and in select the head as a reference. And now it's all mirrored onto the other side. That's going to save us a bit of time. So you can see what's happening here. We're just making our little edits as we go. So I'm gonna take this back into time-lapse. So what I'm doing here is just filling in the gaps at the top, simply just pulling the points together. Remember, you can always extrude handles when you need to, if you need something more to work with for just take it one step at a time. And I'm worried about how it looks like at first, it's just a matter of little adjustments. Getting it just right. You can look at some stylized ideas out there. Just a lot of cool stuff on Pinterest and other sort of online references. But this is more of a stylized approach that I'm taking here. And I'm trying to not add too much as well. Otherwise we could get a little bit of lag. But you can see here it's a very simple concept, just taking the curves that we have, duplicating them and changing the shape a little bit and placing them. Here you can see by just going around and little by little, just adjusting the handle points, doing some basic rotations and extrusions. Life made this, It's not perfect by any means, but it's exciting to get there. The overall idea is starting to develop. So I'm gonna keep going on in time-lapse, but we're gonna be doing now is duplicating the longer segments and making the rest of the hair around the head and filling in some spaces around here. Inside of edit mode with the curves here, I just selected one of them and I moved it around and made it a little bit longer. So I deleted one at a top handles and just extrude it out at the bottom one. I'm just trying to make a long strip and decide it's pretty simple, pretty straightforward. It's almost like the ones at the top, but just a little bit longer. And what I'm doing here is I'm duplicating it, rotating it and moving them along, once again, radially going along to head and just embedding them inside of the shorter hair segments. And that's what you continue doing for the whole process is really just a matter of duplicating, moving them around and definitely looked at some reference images, look at some design ideas. I just went with just kind of like really loose, stylized feel for the hair. It's not realistic by any means, but I really like it and I felt it went well with the sculpt. You guys can experiment with whatever you're trying to do, try hunt different concepts and you really have nothing to lose. If you don't like what you've done, you can just come in, they're edited, delete the splines, and just add a new ones. It really is up to you how you want to approach this. You can see here with my style, I just kept it really simple. And I went back to somebody out or groups at the front would have fringes. I just duplicated them a little bit more, added a little bit more volume at the front there. And yeah, that's pretty much the whole process. You can also edit the reference curve object is circle there and you can adjust that a little bit to work around with the hair shape. So I sharpen it up there a little bit. That's optional. You can do it however you want. Generally when it comes to hair, I always like to say that less is more. Sometimes you can ruin things, make things feel a little bit too blocky by adding in too much stuff, too much like it feels fixed. So just try and use what you have and only add in new sections of hair when you feel it's absolutely needed. It doesn't overdo it as well because you're going to really get a bit of lag because like I said, this does generate a lot of topology. So this is as far as I'm going to be going with this hair, I'm trying to keep mine really simple and stylized. I challenge you guys to make it however you want. Come up with some cool sketches and try and just make your hair the way you want it to be too quickly. Organize things a little bit. We're gonna come over here to the outliner and just drag it down a bit. Let's right-click in here, and let's just go to New Collection, and let's just double-click on that collection. Let's call it hair, and let's just come here, click and drag to select all of these curves. Click on him and just drag them into that hair collection, and then click on the little drop-down here. And now that's on its own collection that we can turn on and off. Also, like I said, I've turned off the href, the scene as disabled as well. So just make sure to save your file. I will be including this blank fall as well. So if you guys get stuck, you can check out this exact file. But in the next part I'm going to show you how to quickly render out that's not gonna take too long. We'll add a basic material and that'll be it. And then you'll have something you can present your friends. 10. Render A Portrait: That's really awesome that you now have created your sculpts. You've probably made some nice hair for it, made it your own style, your own flair. What we're gonna be doing right now is we're going to be doing a little bit of lighting and just staging it and rendering it out. So you can just present it to people in a really nice way. We've seen from the previous video. We're gonna go to our outliner here and the scene fault we originally set up or started with, depending on where you started, is gonna have a scene collection. So just took that to bring it up. And there's going to be the default camera and the default light. You could add fresh ones and if you don't have anything in there, but we're just going to select the camera and we're going to go over here to our Output Settings. So the output properties, It's top box here is just a formatting bulks and resolutions here are the x and y. So x is currently set to 900, the y is set to 10.580 already changed that yours will probably be like 1920 by 1080. So just change these values here accordingly. You don't have to do the same resolution and you don't have to do the same aspect ratio. So that's just how I've set it up. But once you have your camera active, you're just gonna hit Zero on your number pad. They'll take into camera v. And when you have to camera active, what you're gonna do is you're gonna go, gee, that'll move it. But once you've hit G, you can hold in your middle mouse button, press it and hold it and you can just move the mouse and you can zoom in and out and then left-click. You can also double-tap are with the camera active and that'll rotate the camera like that. Now at the moment I have my pivot point up here to Transform Pivot set to median point. So currently it was rotating around that. But what I want to do is go to media endpoint, double-tap are that's working a little bit better. Then you can hit J just to move it by itself. And what you can do is find a nice orientation that you think works for what you're trying to do. So you don't have to copy me or set it up exactly the same way as me, but make your camera like a portrait dimension that you like to place it somewhere. Do you feel looks good and you can also just bring in your hair. And with these objects that our hair is made out of, so I'm just going to select them and I'm going to hit G to move them. In fact, we can also just hit M to hit the M key click new collection, just go. Okay, this is another junk collection just on ticket. We don't need to see those. So just with our camera in place, let's select outlier up here. Actually this is delete it because I want to show you how to add in the light. So just delete that light and we're gonna go shift a. I'm going to go down to a light options, add in an area light, then we're going to go G, Z and just bring that up. And at this point we can go to 3D cursor under our pivot transform. So if this light active, if we now hit our, it'll rotate around that 3D cursor here. We're just going to hit R, rotate it. And let's go to our light settings here, and let's make the strength 120 for now. But we also need to come here to this little camera here that's a render properties. The render engine is currently set to EVs that doesn't do any sort of bounce lighting or write tracing, it, fakes it. So if you want a nice render, just click on here and let's make that the cycles engine, if you have a GPU, I'd recommend you use it. By the way, if you want to enable that, just go to Preferences under Edit, dirt to system and under the optics and CUDA, you have to just take whatever your Jeep GPU is if you have one. But it's not necessarily you can work with a CPU and then we're just going to come here under the sampling and we're going to just set the sampling max at the top here, that's just in the viewport to set up the 200. And over here in the max samples for the Render, we're going to set that to 200. That's all we need because we will be clicking on this little dude noise button here, so make sure that's active. So if the sample right isn't high enough to clean up old noise, denoise will take care of that for us with the light act as just quickly go back to the settings. And now if we hit Z, we can go to our render view. There we go. So let's actually also, we've outlined still active, just go over here to the size and let's make that two meters. Now, the bigger you make that size, the software you're lighting is gonna be, but you're also going to lose some strength. So you got to play between the power and the size. And depending on the scale, if you've seen this value is going to change to bigger, you're seen as the more power you have to pump into it. It's based on real-life physics. So to inverse square law is going to apply. The greater distance between your light source and an object, the more light is going to dissipate and the more power is going to be required to light your scene. So what kind of things you have to take into account? Just drag that up to E field, the lighting is satisfactory. But what we can also do is go over here to our real properties. And under the surface you can click on the color here. And currently it's just using this value here. And you can also change the color as the lighting. But what you can do is click on this little tab and give it the sky texture under the sky textures here. And you can just go over down to the strength and make it something like 0.2 for now. And let's hit 0. You're going to camera view and you can see that's what we have so far. So I'm just going to hit Z and I'm gonna go solid. What we can do is add in a little backdrop. So we're going to go Shift a, we're going to add in a plane S to scale it. And we're gonna go G, Z and just print a plane down. So that's sitting underneath here and you can go S, x and skeletal lung the X like that. Then just with that active hit Tab on your keyboard, and you can just select this back edge here, hit B to extrude and z and extrude it up on a Z. Disabled proportional editing if you have it enabled, and we still have that edge active there. So we're going to go, gee, why and move it back, then just select this edge. And if you go Control or Command B, you can create a bevel on an edge. So just move your mouse, didn't wrote the middle mouse button to add in segments. And now I've rounded out, so just tap back into object mode, right-click and go shapes, move. Now we can go into camera view by hitting 0. I'm gonna select my camera. I'm going to go to my camera settings, and this is something you can choose to customize, but I'm gonna go to the focal length and make it 95. And then I'm just going to go, gee, middle mouse button just zoom out a bit more. I just liked that a little bit more. That's sort of depth to the camera completely up to you. The only downside is when you go to a really long focal length and zoom in, you're really going to get that horrible kind of stretching. So obviously there are limitations, but completely up to you study out photography a little bit if you want ideas for that. Now for his Zoom, we go rendered. We're gonna see we have two backdrop. You can also go Control B in object mode. You can go Control B in your camera view, click and drag over the camera and it'll limit the rendering to the camera view. That way it saves you a little bit on performance. Now you can select the light and let's grab this slide we have here to decide and we're going to go Shift D to duplicate it and move it over our Z. Bring a light source from this side in camera view hit Z. Didn't ever wondered. What I'm trying to do is just get some lighting to come from the side here and hit the sculpt. You can go Shift D to duplicate a light, rotate, move through these, these are pretty standard things, pretty easy to do. So just mess around with lighting. I'm looking to give any specific guide to lighting on the end of today, there are some ideas like three-point lighting. We have two light sources on the side. Light maybe from the top. And then you can also add some rim lighting at the back to help your subjects stand up. But this is not a lighting tutorial. Once you are happy with a bit of lighting that you have and you have a backdrop. You can actually click on the subject or to sculpting go to your materials. And you, if you remember from one of the earlier parts, we did owl hair. We actually, before we duplicated the hair paths, we just gave it a default material. And so all of these things shared at material, it's just cold material since the hair already has that, let's just click onto head. Go to this materials tab and under the materials so you can go and just get a drop-down and choose that same material. You can also click on the eyes under the materials tab, a drop-down and give it that material and didn't gonna come over here just under the surface and you can give it whatever color you want, hits the thing got rendered and you can see that's what you have. So mess around with devalue. I like to come down over here under the surface and increase the roughness. If you increase roughness is less reflective and it makes it look a little bit more like clay, almost a little bit like terracotta. And I like a little bit of a darker value and maybe a little bit more yellowish in red. So it's a little bit less terracotta, but I liked that sort of clay look and you get a lot of different clays out there. Now if we have that as a material, it can also just select the background plane. You can go to your materials, go new, and under the color, you can give that a color if you want a darker environment backdrop, you can just decrease that value. You can also change the colors. So these are things that are completely up to you in your own creative style. I'm just gonna go with something a bit darker just to help to subject here pop out. But with the lighting, by all means up to you to determine how much do you want to increase or decrease the strength of your lights and how many you want. But for me, I just like to see the sculpt that I've done and make sure it's got some nice lighting. Once you're happy with all of that, makes sure to save as you go. You can go to render and go to Render Image. Blender is going to start rendering and then did a noise and kicks in and it looks pretty good. So there we have it. That is the conclusion to this series that I've been doing. I really hope that you guys have enjoyed it. And if your result doesn't look exactly like mine, don't let that intimidate you. You're still learning. And if you're, you've made something, you've made something in its domain points. So I'd like to thank you guys for taking the time to watch my Skillshare course and I'll do a little video steel, just to mention a few things after this one, we'll just give you guys a bit of a challenge and talk about a project you can do, but this is pretty much it. And I hope you guys enjoy your day. 11. Thank You: This is the official outro for my course. And what I'm gonna do here is just give you guys a little bit of a challenge and explain some things that you can do for your project, for the class project, if you were one of the people that are absolutely new to it, you should now know some of the fundamentals to get you started if you're already sculpting, but it's video, she's kind of extended your knowledge a little bit. And if it doesn't really matter where you're at with the class project. And what I want to challenge you guys with is to build your reference board, the one that I provided and that I showed you in the earlier parts how to setup, go online, find the resources and put them into it. There's no harm in building a really big one, or even different ones for different kinds of people, different ages, different groups, different cultures, whatever references you're trying to collect together, they're more diverse. And it filled in your reference board is it's going to really help you develop as a, especially as a character sculptor. And there's a lot of different avenues of sculpting. But if you're really into characters, which I believe most people are, It's great to watch courses, but developing and learning the anatomy is going to be the most important thing that's really going to help you. The tools will always changing, the techniques always changing, but the principles of learning from reality and getting a feel for things is always going to be really important. So data is going to be what I want to leave you guys with. And once again, thank you for watching. I'm looking forward to seeing in the project section what some of you guys are sharing and what you do with this. It's gonna be fantastic to see him. I'm really excited about that and I'll see you guys next time.