 All right. Wow. Thanks for coming, everyone. I'm Julian Kasper, by the way. I'm a 3D artist, character artist at the Blender Studio. And finally, I get to do another little sculpting live session. It's been actually a while. So I actually did this, this is now actually the second time. So I have a little bit of a track record for sculpting monkeys. So this was like the redesign for the Susanne Awards, which was a lot of fun. Some of you might remember still the original. And also this, which was like, again, Susanne, usually it's Susanne. And at 2019, I did another sculpting talk where I was presenting some of the new features and doing it a bit of a speed sculpting session. So can I do an entire sculpt in an hour? This time it's going to be a bit more relaxed. I'm not going to try to finish an entire thing in an hour. Instead, I'm giving a bit more of a guided tour of some of the Maya stones and highlights of what monkey had sculpted this time. But yeah, this is 3D, by the way. Like I can just move around. I'm using Eevee to visualize this. And did you use a bunch of new features? Not all of them necessarily new. There's a lot of features that came out in the last four years since 2019 where I did the last presentation. But this using like just regular mesh sculpting modifiers, presenting an Eevee. But also some new additions like hair sculpting, which is really cool to play around with to do these hair clumps. And yeah, I can cancel out of this. This is based on a concept painting from Vivian Lukowski, our in-house concept artist, which is super nice. And I wanted to see how close I can get to this while doing it a little bit more stylized, a bit more simplified. But yeah, let's just get to it. I have another file open over here. Perfect. So essentially what I started with is a base mesh. For the past like two years, I've been like talking with people and trying to collect together a human base mesh bundle that people can use to speed up their sculpting workflow a bit. This actually gets soon a bit more additions. There's a bunch of new stuff that has been worked on. There's like the stylized and the realistic characters from before, but also primitive measures, which I'm going to use this time around. But then also like other stuff like a full skeleton and muscular model, really excited for that to actually land in there. But actually really like starting sculpting with these base meshes. If I want to have it be not too loose, because let's just... Also, by the way, split editors. I love just having concept art over here on the side. But what I also like to do is just to have a camera view on the side where I can switch a reference on and off, which is actually... Wait, can you hear me? Okay. There was supposed to be a background image loaded here, but it's not working. Hold on. Maybe I can fix this. Oops. Doesn't matter too much. Okay. So first things that are nice to do is just like basically getting this into pose. Each of these are different objects, which makes it really easy to just like put it roughly in a pose. The nice things about these base meshes, what I usually try to do is to keep the symmetrical objects have them used the same object data. So if I'm already starting to sculpt on these objects, the changes permeate to the other side, which saves a bunch of time. But the really nice thing is then I can already start to pose a fully asymmetrical pose that tries to match the concept a bit more. And yeah, let's see. But there's a couple of tricks to this because just keeping this roughly symmetrical with separate objects can be sometimes a bit tricky. Sometimes I would rotate the eyes in different directions, but how do I keep this then symmetrical? And there's actually a nice little new feature called parent transform orientation. And actually then it starts using the transform orientation of the direct parent, which in this case is the head. So I can just select both of these and move them and they stay symmetrical, which is super nice. But the tricky thing here is then what if I want to move them inwards or outwards? And in that case, there's actually a little feature here that says affect only locations. So in that case, if I scale them along the X axis, they actually move. So only the actual locations are being transformed, which again helps to keep this all a bit more symmetrical. You can set shortcuts to these if you use them often. I actually made my own pie menu to just have them directly in the pivot point pie menu. But basically I'm going just through this and roughly post it into a monkey-shaped human. Some extra objects can be easily added to already block out the major volumes. I added just a sphere in the middle of the head and moved this around and remeshed it a bunch of times. In this case, it's just with pressing R to find a resolution and then Ctrl R to remesh. And just trying to roughly block out every major object, everything that makes up this character, even if it's not totally accurate, it helps to figure out some problems with the pose because usually there's some interpretation that needs to happen when translating the 2D image to the 3D pose and some compromises. But I'm basically just jumping from object to object to sculpt these. And there's also a nice feature that is at this point already a bit old, but it's a bit hidden, which is you don't need to go into object mode, select another object, go into sculpt mode, go back into object mode, select another thing, go into sculpt mode. There's a handy shortcut on Alt-Q. You can remap that to something else if you like to just immediately switch to another object. I do this all the time. I don't know how to live without this anymore. It gives you this handy little flash overlay to just let you know which object you switched to. And if you want to be really sure to know which object you're on right now, there's even an overlay to fade all the other objects a bit more into the viewport background color, which gives you a constant reminder of which object you're on. Although I use this not too much. Right. The other thing that's really nice to already do at this point is just to slap some basic colors on it. And at some point, painting functionality got added to sculpt mode. So there's paint brushes directly here. And you can just start painting the object however you want if I'm on the correct object that is. Exactly. The shortcuts got a bit updated recently. So you can just sample colors with Shift-X, which used to be on S, and flip the colors with X, which is now generally supported in every mode as far as I know. And if you're in something like vertex paint mode, you can press Ctrl-X to fill the color. So all of that is kind of tied to X because deleting isn't really a concept in painting modes, so that shortcut is generally free. But yeah, so we basically keep going until we have these major shapes in place. And from that point on, we can go more into detail to get it closer to the concept. And since there was this whole setup of just linking the object data and parenting a bunch of stuff, there needs to be a bit of cleanup to make that easier. The first thing that I generally do is because I scale these objects a lot is to just select everything and Ctrl-A and apply scale, which in this case doesn't work yet. We need to... The objects are still having the object data linked. You could press on this two button in the object data over here, which is a bit tedious. There's a single menu operation here that does that for us, and it's a bit in a nested menu, but it's called Make Single User. I use this a lot. I have a shortcut tied to this, but if you say object and object data, then all of these are individual objects again, and you can sculpt them however you want, which also means we can apply the scale on all of them, and that should work now too. On some of these objects, there's going to be the issue that now, because they had a negative scale, the normals are flipped. In that case, you can just go into Edit Mode, select everything, and Shift-N, and it will correct the normals, and it's done. This should be pinned. There we go. And now it's basically ready for sculpting. The nice thing now is to just join a bunch of these objects together with Ctrl-J. You can go into Sculpt Mode and immediately remesh it with a voxel remesher which gets rid of the intersections. There's one thing that I forgot about. They actually have also modifiers. I generally like to also do that with a Ctrl-A shortcut. There's something called Visual Geometry to Mesh, which is just a very handy way of applying everything onto the geometry. It just gets rid of all the modifiers, shape keys, and just cleans the mesh up, and then it's ready to sculpt on more, so I can Ctrl-R. There are some extra settings. I forgot to turn them on. They are enabled by default to preserve the vertex colors as well. So if you remesh all of those, stick around. And from that point on, we can sculpt a bit further. There's one thing that typically happens, and I can showcase that a bit easier. If I, for example, didn't have the resolution so high on the subdivision surface modifier, as if you remesh on a higher resolution than you were typically on, then we're going to run into this issue that everything is a bit jagged. It doesn't smooth it automatically. You could go over here and just smooth everything with a smooth brush, but you're likely going to miss a few areas. For a while, there was already the concept of filters, which are these handy tools over here, and they just apply an operation on the entire mesh, anything that is not masked. So you just click and drag, and based on how much you click and drag, how far you drag, you can use the mesh or inflate it or whatever. But this is also since recently available just as menu operators, which makes it easier to assign shortcuts to them or add them to custom menus or the quick favorites menu, and you just click on one of these, click and drag, and then you can smooth it. You even get the little pop-up over here to adjust the operation a bit more afterwards. So it's a bit more consistent with your other modes in Blender Work. You can even, like if I would create a mask over here, and I want to smooth the mask, there's a lot of mask-related operations on the pie menu on the shortcut A, and the typical one I just use is Smooth Mask, and at some point you're just used to do this, like constantly A down, A down, but now you just can do it once and you can just increase the amount down here, or you can, with just any operation that you do in any mode, you can press Shift R to just, or hold Shift R to just keep repeating the same operation. So that will make that a bit faster. Right. So another thing that is kind of handy, and I want to get into that, is getting a bit more, like a bit easier control over your visibility and your masks. So let's say I joined all of these objects. They are all separate geometry for now, and let's see, by the way I have some custom menus in here, but basically I just adjusted the face sets overlay because we're going to use those now. All of these are like separate geometries, and if you want to use face sets, which the usefulness of them I'm going to get into in a moment, you can very quickly set them up on your mesh with these options over here. It's called Initialize Face Sets, and like the most typical one that you're going to use probably 95% of the time is By Loose Parts. So every mesh that is not connected will get a different face set immediately that already saves a bunch of time. And the most typical use for face sets is it helps with hiding meshes. It's basically like a selection set. So you can point at any of these face sets and hide them. In this case this is with shortcut H. The shortcuts got updated for the latest version a little bit to make them a bit more consistent with the rest of Blender. So H is for hiding, and Shift H is for isolating a face set. But you can also hide a few of them. Let's say for example I want to get the entire foot, I can hide this, and then with the face set pie menu on Alt W I can invert the selection and get all of this. So that's just really nice for isolating parts of your mesh. And let's say I'm just going to remesh all of this. So with R I'm going to define a resolution. Let's go a bit high and Ctrl R. Oh, forgot this again. It's actually a little handy trick and this is not obvious at all. It's actually made more obvious. And that is if you want to have these toggles switched on all of your objects, ideally all the objects that you have selected, you select all of them, you go into scope mode, and there is the typical concept of holding Alt, and then it will toggle it on every object that is selected. And this also counts for these toggles. So I can hold Alt, toggle all of them, and now these toggles will be enabled on all of the objects. So now I can go back in here and Ctrl R. I can also smooth this a little bit. Now the typical thing that we also want to have a bit more control over is basically masking or selecting parts. And the most typical ways of doing that is with a mask brush or with the lasso masking. But how do you reliably mask face sets? And one way that I saw a lot of people do it online is they just like hide certain face sets and then just basically flood fill the mask and then unhide everything else. And that's a reliable way of doing it. But there's another way. And that is basically with the feature called expand. So if you use Shift A, you can expand a mask out of a starting point. So you define the start point and the end point, and it will follow along the geodesic distances of the mesh. So it takes the actual distances along the faces. But there's a bunch of handy shortcuts in here. So the typical one that is really handy is you can hold Ctrl to snap it to face sets. So you can just press Shift A and snap to these face sets and all of them are immediately masked. The same goes, for example, with the foot and all of the toes. So if I go in here and I expand a mask outwards from here, the neat little thing is because all of the toes are already fully encapsulated by the expansion, if I hold Ctrl to snap, it will snap all of these automatically as well. And the extra little feature on top is if you use any of the transform tools, like if I want to rotate, I can basically expand a mask, snap it to here, and it will set the pivot point automatically at the border of the mask. So I can smooth this a little bit with the API menu, repeat it, and then, well, rotate the rest of the body. Invert the mask, that's also on the API menu. And then I can rotate this foot basically like that. There's another little shortcut that I assigned. It's not by default, but there is an operator here in Sculpt. It's hide masked, and I just set that to Ctrl H, and that's really handy in a combination with this snapping to face sets. So I can just mask the entire foot, Ctrl H, and it's hidden. Basically like that. And this is just like little features that speed up the workflow for masking and hiding certain parts. And then from there on out, we can basically just keep working on this. And the reason why, like in this case, for example, this is so handy is in the case of me, at some point just having merged all of these objects, there's a lot of stuff in the way. Like you can isolate the part with... What is that? Like a backslash key to use local view. But the... Oh, in this case, this got merged. That shouldn't have happened. But for example, if one of the arms or foot is kind of in the way, or it gets sampled in the brush as well. Like in this case, if I want to sculpt this, the annoying thing can sometimes be that the geometry of the leg is actually taken into account by the brush and it distorts a bit the direction of the brush. A very easy thing to prevent that is just to hide that part of the geometry and then the brush will no longer take that geometry into account. Like if you would have, for example, a bunch of fingers side by side that can be really helpful. If I have these over here and I want to sculpt on them, it will just keep messing with this and even if it's fully masked off, it will just keep using this geometry as well and do weird things. So if I just create face sets by loose parts and hide these fingers, then the brushes will have a bit of a better behavior with only this finger. Oops. Exactly. And then from there, I'm basically just polishing this further. This here over here, that was just like a plane that I used. I gave it a solidify modifier and some subdivisions and that's it. The nice thing here can be sometimes a bit difficult to sculpt on a geometry that has back faces directly behind it because it will start to merge these together. This is the really common issue that it's very easy to run into and with that, face sets can also really help. So I could, for example, go in here just mark this loop here as a seam. Actually, let me isolate this object with local view and place a seam over here as well and I can, in sculpt mode, initialize face sets by UV seams and now both of these sides are instantly getting a face set and now it's very easy to just mask off this part, this entire face set and sculpt on this without worries that it will affect the other side. Exactly. From there on out, I'm polishing this further and skipping ahead a little bit into something that is still a bit rough but it's getting closer to this concept. All of the elements are sort of getting into place even if they're just like 10 placeholders like these basically fur objects over here. They are not meant to be the object that I'm doing the final sculpt on but they help to just pre-visualize the sculpt a bit further. Exactly. Hold on, I'm going to grab a bit of water. At this point, I'm basically just having the second viewport over here and I'm just constantly referencing the concept art that is not showing up as a background image. I think I know why. It's not on the correct camera. There we go. This was the camera that I set up at the beginning and then I have the background image set up over here and I'm basically just toggling overlays on and off to compare and it's slightly transparent so I can still see where roughly the objects are. I'm trying to match it as close as possible to this while working in this viewport which is very dimensionally sound. Another helpful little feature that got expanded more in recent releases is automasking and this is having a little panel over here in the header and this saves a lot of time when it comes to setting up your own masks you can have that happen automatically. In the case, for example, of this ear which used to have face sets. Let me set that up again real quick so face sets by UV seams, there we go. Instead of just masking this part off so it isn't affected by this anymore you can enable automasking by face sets and then the face set that you first clicked on while using a tool, an operator, a brush it will only affect that single face set which makes it then super easy and fast to use. There's a shortcut for this, Alt-A and I'm toggling things here all the time. The other useful thing is, for example if I'm sculpting on this thing I can sculpt this but these are separate meshes I want to affect them separately for now sculpt them a bit more into detail before merging them properly in that case you just automask by topology with Alt-A and all of your brushes will automatically detect the geometry that you clicked on first and only sculpt on that. There's a bunch of more options in here and I can really recommend to try them out I'm going to go into them a bit later or at least one of them but the other thing that I wanted to really get into let's see is there's a few other handy features so the grab brush is pretty straightforward and I love to just use the grab brush with topology, automasking all the time but there's another handy little feature and that can really help in two specific cases so let's say I want to I have this hand and I want to make the fingers wider well first thing I can do is automask by topology and it will only grab one of the fingers but it keeps dragging everything that's in the brush radius you can enable this option over here called grab silhouettes and then it will only grab the silhouettes of the mesh that you're clicking on if it still grabs a bit of the other finger you can also mask that off, shift A control to snap to those face sets and it's immediately masked same thing over here, control snap to face sets and that's masked and that really helps with fine tuning the silhouette and the shape a bit more I actually have multiple grab brushes that I'm cycling between so there's this neat little feature that if you press the shortcut for one specific type of a brush like a grab brush which is G, multiple times it will cycle through all of the grab brushes that you have in your file in this case I have three ones like a regular grab brush I have the grab silhouette brush which I actually made green you can customize the color as well that just makes it really easy to tell them apart the other one is a grab 2D brush and that's basically just a grab brush with a projected falloff I use this all the time instead of grabbing everything that is within the spherical brush radius over here you can grab everything infinitely in depth and this can really be handy to get some extra control over your shapes and if you want to make some changes that cascade over the entire shoulder you can just quickly do that with this brush in this case over here the hands, I replaced them at some point with another base mesh to get a bit more of a clean topology for the fingers and another really great additional feature for this case is all of these finger joints have their own face set and if you use the post brush over here it has a setting that you can set by default it's just like it's basically checking from the start point what is the boundary away from that on the brush radius it sets a pivot point there and you can rotate the hand but that can be a bit loose it can be a bit ambiguous where it places that pivot point but if you want to be exact you set the setting to face sets and then it becomes really easy to pose these fingers so I can just go in here and I don't need to set up masks to first try to pose this to make a selection and then get a pivot point it's a bit wonky now because I've already posed this before but you can just very quickly pose these fingers and you don't need to interact with the transform tools which is an option but it's just a bunch of more clicks to do this it can give you a bit more extra control so I could just like mask off all of this and it places the pivot point over here and let's say it just like place the pivot point a bit at the wrong spot you can use shift right click to set the pivot point at a slightly different location on the surface which then gives a bit of extra control so it's the same shortcut as setting the 3D cursor and then you can just keep working with that exactly let's see I can really recommend to play around with expand in general there's a lot of things that you can do with it it also exists for face sets so you cannot just make a mask it's also like for example over here on the eye if I use shift W instead of shift A I can expand a face set for the iris and then do it again for the pupil but let's say for example if I clear the face sets if I first made one for the pupil and then do one for the iris I can actually press E to preserve the previous face sets and then we'll just basically create new face sets for everywhere where the overlap is with the expansion it's a bunch of like in this case I placed it at the wrong point I can even hold spacebar to reposition the expansion to somewhere else so there's a bunch of neat little tricks in there I can actually recommend to just there was a bit of an effort to clean up the manual and make it a bit more helpful so there's like new pages on the blender manual to read up on like how this tool works there's a bunch of like all of the options are essentially explained and what you can do with it like for pattern creation creating more complex geometry and that's all just using expand even like when Pablo Dubaro introduced this feature he made a live stream and it's just linked right here because it shows some really nice use cases but yes in this case I have the face sets set up and this can actually be really useful for painting as well so I have the let's just subdivide this a bunch of times actually so I have a bunch of let's say I didn't paint this before and I typically also just disable the face sets if I already know where I created them they don't bother me they can sometimes falsify the color information that you need while painting so just turn them off that's fine and in this case I can go over here pick this color and I can auto mask by face set just paint this in and then pick a black color paint this in over here and yeah it's basically all immediately filled in these parts right let's see I'm gonna jump ahead one more time so okay that crashed I don't think I'm on the latest version over here perfect okay so basically all of these objects I would merge them refine them a bit more and just start sculpting more of these let's see these objects a bit more into detail to get it closer to the concept but this can now also present some interesting opportunities for vertex painting because there's another type of auto masking that I really love and let's say I'm just like painting over all of this and that is that if I just quickly grab this color I can auto mask by cavity so cavity masks are something that were lacking in blender for a while and you can make just a regular cavity mask you can just go in here and say mask by cavity and it will create a mask it's not that visible right now because the mask is a bit the overlay is not that strong but then you get some extra options you can blur the mask further you can get the inverted mask or you can even set a custom curve to get some extra control in this case let's just make it full screen so it's not blocking so you can customize this and then you can use this for sculpting or painting but typically while just filling in a bit of color in the crevices or the valleys it's not that complex of a mask that's needed so you can also just enable auto masking by cavity and it will automatically create a mask for you so if I now would start painting over here like cavity inverted I would mask everything except the crevices it will start just automatically masking all the crevices and then cavity would do the inverse so I can just have a quick pass of color over this just get like all the pores and wrinkles would be very quickly filled with the color and if you need to tweak this further you get the same settings over here as with making custom mask so you can just go in here set a custom curve blur it further it doesn't give you like a preview as you're doing this but it's in the worst case you can also just say I want to create a mask from this and then it will create a mask you can see how that auto mask would look like and clear it again or you keep using that mask but the auto masks are generally something very quick to use and not in the way it's very invisible exactly so that's how I would sculpt more on this and paint the surfaces generally what I also like to do is at some point switch to EV as well which is really handy so the performance impact in EV is very minimal so you can add a bunch of lights so you can also just keep sculpting directly so you can keep sculpting with EV lighting in this case the HDRI is kind of not ideal but this can really help if you're already starting to set up some materials you want to preview your objects and you want to sculpt on it at the same time in some environment to work with this exactly but while painting in the viewport that's also very easy and I can actually recommend to switch from the mat caps to the studio lighting setup there's one specific one that is very specifically made for painting it makes it all very evenly lit very bright close to white and gives you just enough shape information to still read the model properly exactly from there let's see I actually had all of those fur objects and this was actually quite fun that's also why I picked this concept something that has fur I wanted to experiment with something that also got added to the whole sculpt mode ecosystem that I used for grooming because if I go in here this is actually a bunch of curves that are using geometry nodes to generate geometry on these so this is the current feature set for curve sculpting is still very much pivoted towards generating and interpolating a lot of hair curves but since it's geometry nodes you can do with it whatever you want and in this case I just did the typical workflow of having another curve somewhere else that defines a profile and using that on this object to generate these curves with thickness this is like typically you would set this up with a regular curve object add a bezier curve and define a profile and a thickness in there but you would have to do that curve by curve or when you have all of those curves in one object it becomes quite difficult to manage to edit them in this case I can just go into sculpt mode and start grooming these curves into position and I can go in edit mode and select these curves specifically and have even like a bunch of other brushes to lengthen them a little bit or shrink them and smooth them out basically just like sculpting features in general there's still a couple of limitations with this being able to properly see the original curves underneath like if I would set X-ray a bit lower I wouldn't be able to see them but those are just like some little issues that still need to be ironed out the thing that these curves need though is an emitter object to spawn from and in that case I just grabbed this entire body object and used the quadriflow remesher which is quite basic sometimes it can't handle complex geometry very well you just like okay so I would duplicate this I would ideally remesh it another time with a voxel remesher with this little option over here to make it a bit cleaner and there we go and that can then be a base to use quadriflow and remesh this just takes a second and it's not the best topology especially like to sculpt on it sometimes has some issues but for something like creating a very quick emitter for hair sculpting it does the job and then you can just basically go in here either make an automatic UV map or place some seams manually in case you're picky and then it should all be ready to be used so you would basically just select this object add curve and then empty hair and already be able to go in here use this brush for example to set the density and you can start adding curves to it and comb it into place I'm not going to go into the geometry notes setup too much because it's really messy but there's one little limitation that there are attributes like tilt and radius for these curves but it's not that easy to edit them at the moment so what you can do is you can plug these attributes into your geometry notes network to add those attributes to them so I have radius and tilt and what I would do is I would either use the selection brush in scope mode or go into edit mode to select a set of curves and you can select the attribute you want to edit and there is a set attribute operator I typically have a shortcut assigned to that shift E and then you can change the radius for that and I also have another attribute over here for tilt and then you can change the tilt so if I would go in here and sculpt these curves I'm just going to delete them real quick so as I'm starting I'm going to add the radius and I'm going to add the tilt that's not right that's it I would go in with the density brush just add a bunch of curves I can already select all of them and groom them into place if I want to tweak them further I can tweak the radius make them a bit thicker or the tilt if I want to tilt them more towards the camera or more towards the silhouette of the object and then if I want to find tweak them further I can go in here select the specific curve sculpted there's no such thing as selection sets like face sets in here so you can separate these into multiple objects go back into sculpt mode, deselect everything and just add a bunch of new curves and they will be automatically selected so you can start grooming them into place tweaking them a bit further and setting the radius, setting the tilt if they're not quite right in this case I'm lucky that they are pretty well I'm usually going into edit mode moving these around you can brush them a bit from the surface in that case you can use the snap to nearest surface or snap to deformed surface which is the original position they were on on the UVs and they will snap right back or you could also use the slide brush to slide these curves around I can just show this a bit easier over here so they slide around and that's basically how I started populating all of these curves over here I put a bit more effort here on the face than on the arms but the nice thing is that you can do some extra shading to blend the normals a bit into the mesh and make it look a bit nicer or you could even apply the modifiers and make it a mesh and then sculpt on it further this is the first step to populate the character with a bunch of hair clumps and then subdivide and then sculpt them further into detail if they need it so using the procedural setup just for basically base mesh generation which is super nice but yeah, that's basically just like all the techniques that I used to set up all of these hair curves and the character at large there's another little thing that I did on top of here is I used the real-time compositor to add the Kua Hara filter on top to make it a bit more to get rid of some of the details and make it look a bit more like almost like painterly just a bit simplified but you can enable and disable this as you want but it's super nice to just have compositing life so you can do it as you're doing previous on characters that's basically it there's a bunch of other features that are in development right now that will make all of this even easier one of the top ones is updating dynamic topology to work better with all of these features so the first, foremost one of that is support face sets but also like dynamic topology has the tendency to just like destroy your entire topology so the thing that is being worked on is to preserve any attribute that you have on the mesh so if it's UV maps, seams, like your open boundaries it's generally going to be better at preserving all of those edges and attributes and the interesting opportunity that comes in there is that you can actually use this original sculpt as the emitter and just keep working on it with dynamic topology remeshing the mesh and the hair curves can still use the original UV map on that mesh to spawn from it so it makes it all a bit easier and of course geometry nodes keeps getting updates and the really exciting thing there is geometry nodes operators which can go into geometry nodes, you have the option to either use it as a modifier or to add basically your own tools powered by geometry nodes and there's a bunch of things that will be really useful to do that for a sculpt mode, mesh sculpt mode for example for saving your masks and face sets and loading them in later because they can just be stored as attributes to basically make your own filters and use of textures or even just to have very quick access for various base mesh generation you mask a certain part of your mesh and you generate a piece of geometry there based on some geometry nodes logic so there's a bunch of features to look forward to and I'm basically out of time but if you want to find out more the manual is a bit more up to date a bit more cleaned up, everything is a bit easier to find and hopefully I will make an article like a blog post of the Blender conference to just share the files from this talk and give a bit more of a summary and some insight so after this there's actually a grooming talk so I will just like sit down to the audience and just keep watching but hopefully afterwards I can see you in like the market or the hacker bar, I'm just going to sit down there with a laptop and do some sculpting, maybe if you have some questions I can see you there so hopefully see you around thank you