Alright, now we're ready to start sculpting. So the first thing we're going to do is we're going to be sure we've got our model selected and we're in Object mode, and to get started, we actually need to click Subdivide. We'll click it once. Now if we go ahead and look in our object tab, we can see all this has really done is add the sculpting tag to our model, but it hasn't really changed our geometry So I'll ahead and back into our sculpting layers. I'll choose Subdivide again. Now we're actually seeing a rounded, subdivided version of our model. In our layer manager, we can actually see what level of detail we're at.
And this is going to keep track of all the layers we add for our model as well. The reason we want to work in layers is because it's going to isolate different areas of detail that we're working on. So for this we're going to add a layer. Let's double-click. And we're going to go ahead and rename our layer First Pass. And when I refer to passes, I'm basically referring to different subdivision levels. So the theory is I've got several passes, which are going to be higher and higher subdivision levels, with higher and higher levels of detail. So our first pass is going to basically be The biggest changes to our model, we're going to basically push in his cheek a little bit.
We are going to fill out his chin. We're going to do all these large areas of detail and really start to shape the head overall. And as we go higher and higher in subdivisions, we'll add more and more small areas of detail. And when eventually we get to our highest levels, that's when we're really going to be sculpting in very small, minute details on our character. So for this first pass, the main tool we're going to be using is the Grab tool. The Grab tool's going to help us just shove around our geometry. We're going to go under Symmetry and be sure that Link Symmetry is turned on, and that Link Size is turned on.
What that's going to do is when we have Link Symmetry, That means it's going to apply symmetry to any one of the tools that we got selected. When we have link sides chosen, it's also going to maintain our size to be the same size, throughout our different brushes. And we'll be sure that we've got access x selected for our axis for symmetry. So now we can work on both sides of our model, while we sculpt. So let's go ahead and start to make a few changes to our model. Now, even though in my reference, all of my characters here are kind of chubby, well-fed old men, I actually want sort of a gaunt-looking character, so I'm going to go ahead and with my Grab tool, we're going to scale it up using the bracket key And I'm just going to sort of push in his cheek area, like so.
Sort of thin him out a little bit. And in his cheek area up top we're going to sort of pull that out to make it a little bony, as well as the temple area, we'll push that in to give him sort of a skeletal sort of look. That's not bad. Let's go ahead and use our bracket key to scale up a little bit more. And we'll just push in his jawline. Alright. Let's zoom in and work on his chin and mouth a little bit. Now, the first thing I notice is, I'm going to want to pull my whole mouth down. I want a little bit more space between my nose and my mouth. Now, we could just go ahead and grab it and pull, but as you can see, we're sort of affecting far more than we want to.
We're affecting our nose here. And even if we went ahead and made our brush smaller, we're going to have to, like, do it in pieces. So what we can do to get around that, is if we drag up our mask, we can go ahead and paint a mask for that mouth. So let's just go ahead and we'll try to paint inside the mouth as well, so we've got all those areas selected. And if we hold down Ctrl, we can actually erase areas of a mask. So we sort of want to be in between, halfway in between the nose and the mouth. And if we click Invert Mask, it's going to invert our mask for us.
I'm going to go ahead and make sure I've got my Grab brush selected. We'll use our bracket keys to scale up the size of our brush, and let's just go ahead and pull down, that mouth a little bit. And as I'm pulling it down, I can actually shape it a little bit too. Like so. I sort of want a curmudgeonly looking old man. All my reference images, these guys are sort of smiling so. I sort of want to have the mouth closed. So we can go back into our mask. Let's go ahead and clear it. And I'll zoom in again. And now we'll select the top lip area. And I'll hold down control.
Delete the, bit of the bottom lip that was selected there. Let's go ahead and grab our Grab brush again. And sort of pull that bottom lip up. We can invert the mask. We'll pull the top lip down to meet it. Like so. Let's go ahead and clear that mask. And now, there's a little bit of irregularity where we pulled the mouth down. If we hold down shift, it actually turns any brush we've got selected into a smooth brush so we can just sort of brush out That irregularity. And even up here it looks a little stretched. Let's use the bracket key to scale down our brush a bit.
We'll hold down Shift and just sort of smooth that area out as well. Let's grab our Grab brush again. Let's shape out the chin a little bit better. And if you take a look at our reference all our older men have very rounded chins that sort of meet the lip and then the neck. It's sort of grown forward. We've got those neck flaps that meet with the rounded chin. So lets just use our Grab brush to grab a large area. Just sort of pull that out and round it out like so. Just making a large broad changes to our character.
And beside it there is another area of mass as well. We sort of got these on our character. So we are going to sort of. Rough out where that shape is going to be as well. Just go ahead and just sort of pull those areas out. Now, we want to get that neck flap sort of built in as well. because this character is sort of based on a young middle, sort of middle of the road character. So we're going to use our Pull brush. Now our pull brush is actually going to pull her geometry out. It's going to pull it away from the model.
So you can see with just a couple of brush strokes, you've got that area filling in. I'll hold down shift, you can sort of smooth it back. Alright that's pretty good. We'll go back to our grab brush and notice that the back of his head is also very thick and healthy. We don't want that. I want him to be kind of gangly and skinny looking. So lets make a large brush again and we'll just pull those areas right back. thats really going to sort of enhance this sort of Sickly, almost skeletal kind of look.
We'll pull that back under like so. Yeah, that's already looking better. And now to the jaw. We'll just back out a little bit. And that's not so bad. Let's zoom in, and just sort of work out. I know that I'm going to want to. We're going to use the bracket keys and scale this down. I know I'm going to want to work out the brow a little bit better, because we're going to have a bit more separation. With him being this old character, because I know there's going to be some definitely deep furrows around here. And now we're going to sort of pull that back a little bit to accentuate that.
Let's make a brush a little bigger with the bracket key and we'll just sort of, little bit more character to his nose as well. Use the bracket key again to scale down our brush. And in our front view, we could actually round out the tip of his nose. Let's zoom in. We'll bring down our brush again with the bracket. Just sort of get his nostrils a little bit smaller, maybe push them back a little. If we'll just hold down Shift and sort of smooth that just a little bit. I can even see the crease of his mouth. Let's hold down shift and sort of smooth that out, too. There we are. And even on our eye here, I can see there's a bit of overlapping. So, let's just pull that out.
Okay. Now, last thing I want to do is let's just go ahead, scrub our mask tool. Let's work on the ears a little bit. If we go back to our reference, we can see that all these old men have pretty large ears, which is definitely going to add a lot of character to this guy. So we'll use our mask tool to isolate the ear Like so. Zoom in just a little bit to be sure that we've got a pretty decent selection.
And again, we can hold down Ctrl to sort of deselect areas. That's looking pretty good. Looks like we missed a spot right there. We'll hold down Shift to add to that mask. Now we'll click Invert Mask. We'll go ahead and select our Grab tool again. Choose the bracket keys to bring up the scale of our brush. Let's just pull that ear out. Make it a little bit bigger. Oh yeah that's great. That's adding a lot more character to this guy. You can even zoom in and sort of spread out the lobule, or earlobe, like so. All right. And let's go ahead and click and drag to clear our mask. Alright, and that's a pretty good start. And because we've got this on a layer now, you can go ahead and turn that layer on and off, we can go ahead and dial down the influence that it has on our mesh.
So in this case, I'm actually pretty happy with it at 100%, but I think that's a really good start. So now we're ready to subdivide and start cutting in some more detail.
- Roughing out a first pass
- Enhancing wrinkles and folds
- Painting with the Stamp Brush
- Painting in layers