 Try and repair the textures and things like that, but even so you know the textures are not exactly high resolution or anything So it doesn't really matter You know if you had a really high res scan you might be a little bit more particular in this You know, it's really more demonstration than anything so at that point though we could go ahead and hop into sculpt mode for dynamic topology, but The first thing to remember is if we do that Actually, I'll just do this real quick is remember that if we activate Dynamic topology to then add in that you know starting detail and to fix some of those areas that maybe are flat because we filled them is We will lose all UVs and color data and things like that So since that mesh has already been UV'd just automatically through the scan We want to be sure to duplicate our model before we do anything. So we probably just duplicate it Move it off to an old layer. So we're just gonna you know archive our model such that after we go in and Add in the detail sculpts if we were to re-topo it or anything like that Then we can actually UV the clean model and then transfer the the textures via a bake and that way We've got a nice clean layout and I can I can show you how to do that real quick So we can now switch back into sculpt mode will enable dynamic topology so that we can start sculpting You can change the settings down here if you want Which Enable dynamic and then it's you know, you can use your preference in brushes You know with sculpting as many people have mentioned before probably the brushes are like any other tool Not all brushes are gonna do the same thing for you. You know, I have my personal favorite brushes I really like the clay strips brush. I really like the crease brush. I like the blob brush for the occasional thing I very seldom use the draw brush other people may hate the clay strips brush so it's very much find what works for you find what works for the You know the thing that you're trying to achieve But for now I'm gonna start with the crease brush because I've really got a couple of things that I want to try and accomplish With this model. So, you know it if and keep in mind Imagine that we are going to spend a few hours on this model We're really gonna try and clean it up and make it a nice representation of in this case myself Such that we could print it out at a nice high resolution and have it look really relatively well Even if it weren't with it even if it didn't have any texture. So it's just great So I'm gonna start by defining some of the key details and things like that So in this case one would be the the mouth line the eyelids the nostrils The main shapes in the ears, you know, these are all key details that I want to try and get The the scan has already captured the majority of the form and the volume pretty well with fairly fairly accurate proportions I guess you guys can tell me if it's accurate. I don't really look at myself all that much So those are the things I want to try and capture. I want to capture those kind of defining details that make up Not only the the silhouette because I've already got the silhouette, but that make up the surface details So I would use probably the crease brush for starters. I'll get rid of my grease pencil and This is actually if you ever run into this where your mesh starts disappearing when you zoom in closely You just need to go into your view properties and just set the start lower like point zero one or something like that I also prefer to work with a 15 millimetre lens mostly personal preference doesn't really matter Well, it can matter if you're doing some things, but so using the crease brush I can then go in and start sculpting now note that since this is again a real life scan It's not symmetrical and it shouldn't be symmetrical since you know Nothing is actually symmetrical as far as people are actually concerned So I want to be sure that my symmetry is off And my symmetry is in fact on so I'll turn those off and then I can start sculpting and I'm going to be really Really loose initially You know not spending too much time not spending too much time on the detail. I'm going to go ahead and use Relate or constant detail and a detail size of probably Eight will probably be fine You can kind of check the size you want if you prefer to use relative detail or constant detail Relative detail when you use constant or dynamic topology will do it based on the screen size So if I zoom out here, I'm going to actually be subtracting the mesh But if I zoom in it's going to be much smaller and I'm actually going to be adding Which you can't see there at all early, but I am Whereas constant detail no matter what your zoom depth is it's always going to be the same So if you're going to be on a model like this or when I'm sculpting I will generally be zooming in and out moving around a lot just from getting different angles and such So you really want to try and just know what your detail is going to be doing And so I like personally I like the constant detail. So I would go in start adding in It's also based the the detail is also based on the size of your model So since that's really high and you notice that it's just subtracting everything where it's Collapsing even though my details at 1% we look at the scale of the model. It's it's One to one to one, but the actual dimensions are really small. So what I'm going to do is just go in I'm just going to scale it up times five. We don't really care what the real-world scale is right now You know, we will we will once we get to printing, but since we're not we'll just do this so back in sculpt mode I can re-enable dynamic and Now we should see that it's working much better. So it's based on the scale of the world scene so I can actually increase that five and then just start Then I'll start adding in a little bit of detail here just kind of getting some of the additional forms I'll actually take a little lower And you know, this is where it would be good to be working from a photo or if it's a portrait then Amir or or whatever the constant detail I do find is a little bit finicky because It seems like really really low values just It takes a lot to get down to where you want to be and then from there it becomes much more dramatic I don't know if there's something off or if that's purely my impression but You know and since we've already got the form we actually don't have to spend too much time doing Much because all of the things that really identify the person in this case myself Are already there, you know primarily in the silhouette, you know, if you if you zoom out some things are already recognizable The hat does not count So, you know, we don't actually have to spend too much time in the detail It's very very easy when you're sculpting particularly doing portraits and whatnot to get really consumed with the individual details But you know on on people the details really don't mean a whole lot a Good example of that is look at caricatures, you know of you know of famous people and whatnot They're still almost instantly recognizable and it's not just the details I mean, it's it's much more about the overall shapes the shape of the lips the shape of the eyes the shape of their ears those kinds of things are The really defining factors that tend to make a person recognizable or not not is the crease of their lips. Absolutely perfect So, you know, you really don't need to spend too much time on that and particularly like with something like this We really wouldn't want to spend too much time because we're just trying to improve the overall detail that we have and I'm not gonna do too much more here because I want to cover some other topics as well But some some interesting things like you might notice that the top of the hat is very lumpy whereas actually in reality it's generally pretty smooth and So a couple things we might do is first increase the density of the mesh So right now it's not very high and so if I were to polish that out or smooth it There's just not a lot of geometry there to work with And so I'll probably start by using the clay strips brush with a low strength Just so I don't alter the actual shape too much and then I'll just sculpt over it just to add in some detail You could also use the the detail flood fill which is really handy And it'll basically take our current detail resolution and just fill the entire mesh And actually if I do this the flood fill this might take a moment on here Not exactly a power horse Hopefully that wasn't a bad idea So this is actually new in two seven No, two seven one I think And it's actually really useful because you might have things where like for example If you're starting a mesh from a cube and you want to just start cutting into it It's really annoying when you just barely touch it and one side just like collapses completely in because it doesn't have enough There we go So it hasn't it hasn't altered any of the shapes It's just Added in all the additional geometry now. That was really actually a bad idea because So there we go So yeah, you can there's a variety of ways you can do it But basically as long as you use any brush that affects dynamic then it will add in the geometry for you The only brushes that don't affect dynamic is the grab brush the twist brush I think Couple there's like three or four brushes that don't affect dynamic topology And so it won't actually add in any additional geometry But once you've got the additional geometry then you can either use the smoothing brush Which will help get out some of the lumps although the smoothing brush also has the problem that you also lose any detail that you have Which in this case is not a big deal because we don't have any detail But say for example if I were to put in this nice crease line, maybe increase the pinch Start to put in that seam along the hat and then I use my smooth brush I'm going to start softening that up So another brush that I like to use is the polish brush again generally on a pretty low strength And it works well for just getting a nice smooth continuous surface Under your brush and it works basically by smoothing the area around your brush Based on the surface normal under your brush and you can actually define that here Whether it's based on the plane of the area of the brush the z plane the x plane y plane etc So like if I set this to the z plane and just start sculpting over here It's actually going to try and basically start flattening it because it's just it's polishing down So generally generally you're going to set this to the area plane which yeah, so the polish brush works really well. You can also use