 We would also have a loop of faces around the lips, a loop of faces coming down from the nose, around the lips. Oh, I wasn't doing surface draw. And we would do along the jaw line. So those are the basic layout for the flow of the geometry that we would be creating. There's a lot more than that. It also changes based on your model, what your requirements are and whatnot. But those are the basics. If you want to know more about it, feel free to catch me afterwards. And I'll be happy to show you more details as far as getting precise things, more things that you want to keep in mind. Like, y'all see earlier, before we started, I had a question about doing the geometry around the bridge of the nose and up into the eyebrows, where, you know, like if you squint your eyes or crease your brows, you start to get these creases right here. And the geometry flow here becomes really important because what you don't want to do is you don't want to have the geometry pinching and creating weird creases and artifacts that don't look good, like they don't look natural. You want it to be able to crease and fold like skin actually does. So, imagining that we know exactly what we want with our topology for a second, there's a variety of ways we could do it. We could do it manually, like we already did. We could also use the shrink wrap tool. And just because I like it, I'm going to show you the Retopo tools that we talked a little bit about yesterday, just very briefly. So, there's two tools that we've built. These were designed by myself, developed by Patrick Moore and John Denning. And there's two of them. There's the contours tool and the polystrips tool. Contours allows you to do cylindrical forms quite quickly and easily. So, for example, if I take draw contours, I can just draw across this shape like this and that will recreate or snap to the surface automatically. I don't need to worry about placing each individual vertex. I can then increase the density and then I can hit enter and I have a nice clean mesh. So, that's for doing like the cylindrical shapes and whatnot. The other one that works kind of in conjunction with that is then the polystrips tool. So, since that one, you know, since it was purely cylindrical shapes like this, I can't really use that for the face where I need those complex flows. So, that's where the second one comes in, which is the polystrips tool. So, that's kind of like a paint tool in that you've got this brush. It may look exactly like your sculpting brush. You can actually increase the size, decrease the size. And it allows you to actually just draw right on the mesh. It actually has pressure sensitivity, although it doesn't work for... Oh, it doesn't work very well at all. I'm going to use my mouse. And so, it allows you to then create these strips, and we can go across like this, and we can make it as complex or as simple as we like. We can draw another strip up here. We can draw one down here. We can grab that strip. We can move it. We can grab this one. We can delete it. We can draw off of this one. We can go ahead and connect these two. And so, then this allows you to actually create those more complex flows. So, for example, here, to do just very briefly what we talked about, you know, we might first do a loop like this around the orbit of the eye. I can go ahead and I can adjust the density in here. And you'll notice it automatically updates. I then have these curve handles. I can adjust the actual flow of this. Bring this down. I can change the type of the junction right here, such that it gets the type of flow that I want. You know, if I'm taking my edge or my face loop around a corner, I can do that. And so it's a little bit more of a manual process, but it's still very quick. And the nice thing is that it's automatically snapping to the surface and doing all of that. And whenever I'm done, I just hit insert and I've got my mesh. Yes. You can go as far or as little as you want right now. Thanks to John, it basically doesn't crash. I mean, I shouldn't say that because now it's going to crash. But no, I mean, like I've done it with, you know, well over 100 strips and it's still working. Granted, it's going to start slowing down a little bit. Personally, I would work in sections. So I would do, like in here, I would do the eye and maybe just like the main face area. Then I'd probably go down and do the neck, then, you know, some other areas. So yeah, you don't, as much or as little as you want. The main thing is so like with this tool, and by the way, this tool basically is just an alternate for what the first, the technique that I very first showed you. It's just a faster, a little bit more artist driven tool so that you're not just manually extruding one at a time. But it's the exact same result. So, you know, I mean, I've been doing it manually for about 10 years now, which is why we finally did these. It's hard to do it manually. So yeah, I mean, I would probably do the general face and then I would go back in and fill in the areas. And now, you know, it only does the strips, like this. So you would have to go in and actually fill the areas between the strips manually. Although, as of earlier today, it's actually almost working because John's doing awesome stuff and you can now actually fill between them. It will probably be shown sometime in the coming weeks, hopefully. Question? What? Oh, not yet. So right now, like if I were to generate this, it's automatically mirror across the x-axis. But you can just do it really easily just with a mirror modifier. Oops, that's not a mirror modifier. Yeah, so you can just add a mirror modifier real quick. The one thing that we are going to support that we're going to add in is basically symmetry plane clipping. So that's that if you draw in, as soon as you hit the defined centerline, you wouldn't be able to draw past that such that you could then have strokes coming out of the centerline really easily. Because right now, it'll actually, you'll just go right across and it doesn't care about the centerline. So, yeah, so then the next thing is you would go in and if you had the correct count on these, which I should have, you would go in and just start filling these. So, you know, either using grid fill, you could use bridge edge loops, whatever you're using, and fill it. Yes. Is it a plug-in? Yes, the question is, is it a plug-in? And yes it is. It's an add-on. It's available on the blender market. All right, each of them. So there's, Contourers is one add-on, Polystrips is an add-on. They work independently of each other, but they're designed to also work very closely together. So you can go as, you know, you can either keep them together, you can use one by itself, you know, whatever you have for your workflow. Okay, so any other questions regarding the retopology? Yes. Not yet. It will. So right now, like if I create this strip, I add in a new one and then I go into edit mode, you know, I don't want to have to create a whole bunch of different objects and to join them together. So right now, it does not connect automatically. You know, so I'd really like to be able to just draw out a cross like this. It's on the roadmap. It's just not done yet. But eventually, you'll be able to actually, you'll like, you'll get a highlight and you'll be able to just extrude right out from an existing edge. Not yet, but you will. I thought there was one more hand. If not, we'll move on. It was the same question. Oh, okay, cool. Let's see. So from here, there's, I mean, there's a, what? Oh, it's gone. Okay, so now I'm going to change tact a little bit and let's now, let me move back to my tablet. And let's see, how much time do we have? We have, cool, we've got 30 minutes. So we're going to go back to sculpting now. And one of the things that we have to do a lot in dynamic topology sculpting is adding in things like arms or necks or whatever. So let's open up a different model here. So here is a, just a base sculpt. That's just the rough proportions and shape of a human skull. And let's say I wanted to add in the neck right here. You know, I want to start sculpting it. I'm going to just change my matcap to just be a little nicer. There we go. So one of the nice things about dynamic topology is that we can add and remove geometry on the fly very, very easily. So if I go into sculpt mode, I can do things like first enable dynamic topology and then I can use the clay brush or the draw brush and I can, you know, add in all sorts of things and that is way too high resolution and it's slow. This mesh is a lot larger, I think. Yeah. So we can do all sorts of things like this. But since we don't have the entire head here, we also need to add in the neck and the shoulders. So a really easy way to do that is using masking. So if you've never used masking before, it's fantastic and it's probably one of the most useful tools that we've got added recently. You just use the mask brush, so it's mask right here. And then on our mesh, we can just draw in anything that is black is getting masked out. Anything that is not black, which would be white in this case, gets is not masked. So for example, if I switch back to my draw brush and I sculpt in here, the black doesn't get affected, everything else does. But right now, since I want to do the neck, I actually want to invert my mask. It'll invert it. And then I can go down here and I can use the snake hook brush, which acts very similar to the grab brush, except it has the advantage that it actually affects dynamic topology. So it'll actually subdivide as we go. Although there's a funny thing with the snake hook brush and I don't know if this is a bug. I should probably look into it. But if you just grab like this, we can pull it out. We give him a really long neck. And you'll notice that it's pulled out, but it hasn't actually affected the dynamic very well. It's there, but it looks like it looks like stretched polygons. So if, though, you change it over from subdivide edges to subdivide collapse, which in older versions of Blender was called collapse edges, you can then pull it out and you get normally, well, it used to actually work. So in this case, maybe it doesn't. Oh, that's why I need subdivide and collapse. Yeah, so there it actually pulls out. Let me just undo that and we will increase our detail. All right, so now if I pull this out, you can see that we get a nice non-stretched version. So why that works with collapse? I don't really know, but it does. So from here, we could go ahead and just clear our mask and we have a very terrible rough shape of the neck, but we could go in, we could start shaping things a little bit more. Again, using the snake hook brush in place of grab, since snake hook actually affects the dynamic topology, we can start pulling this out, we could create the torso shape, we could switch over to the clay scripts brush and maybe start adding in some of the actual neck shape, put in the sternocleidomastoid, we can put in the back here. You name it. Masking works really well for adding in limbs and in fact you can actually do it a lot further. So like if we switch back to the snake hook brush, we could go down and we could just actually go ahead and pull this on down and create the rough torso shape, something like that. We could bring this out here and here and here and really quickly, basically like extruding real clay, you can start building up your forms. And this is one of the things that a lot of people really like about dynamic topology is you can really start at the top and just work your way down. You don't have to build the entire mesh, you don't have to do all of you, you can just push and pull as much as you want. However, let's try another method. So one of the things that this is challenging with is getting the overall volumes and the shapes. So since we're working on kind of a head here, continuing with the human body, anyone that studied anatomy knows that the body can really be approximated by very basic shapes, a lot of spheres and cylinders and things like that. So we can cut it down into very basic shapes and that goes down everything from the entire body to individual details from the eyes, the mouth, etc. And this can actually work really well in blender. Since we have primitives, we can actually recreate these shapes very easily, which is much easier to work with when creating your proportions and then do your dynamic topology on top of that. So just as a constrained example, I'm going to show you this. So this was a, not a very good sculpt, it's a little, a study that I did last week just because I'm trying to do more sculpting because I really neglected and I don't do it very much anymore. But so this is just a very quick study and the reason that I want to show it is because it's built on top of this. And this, by the way, is shamelessly borrowed from an excellent book for anatomy for sculptors, which recently came out. It was an awesome Kickstarter project. If you're interested in sculpting and human anatomy, it's fantastic. So this is actually an exercise in that book that's really good and it's building up the shapes of the human mouth. So here we have the chin. We've got, I forget what these muscles are called, the two kind of pouches under your lips. Here we have the lower lip, lower lip here, and then the upper lip. And those are the basic shapes that make up the lips. Wrong one. There we go. So what we can actually do that's really cool is say we just add in a cube and we'll just scale this up a little bit, about here, control A, apply our scale, switch back into sculpting. And this is a really good way to do sculpting exercises. We're going to re-enable our symmetry, which it is enabled. We'll enable dynamic topology and I'm just going to check my detail size. There we go. Okay, detail size looks good. And then using things like the clay strips brush, the clay brush, whatever your preference is, you can just very quickly add in some volume here, kind of going down like this, bring this out, add this in here, add in the chin, pockets here, push those back. And you know, one of the things that I started to talk about earlier is that when you're working with dynamic topology and you're really comfortable with the actual forms and sculpting and things like that, it can be hard to visualize the actual volumes that you're trying to create. And this is, you know, it's just the classic challenge of the sculptor is whether you're working in clay or digital or whatever, actually understanding the volumes that you're working with takes a lot of practice. So a good way to work on that is do something like this, where you've got your skeleton in place and then you're just basically sculpting on top of it. And very, very quickly, we can start to actually get a relatively natural looking shape to our mouth. Now this is going to be a little harder to do in live, but we can start going in, add in pocket here. And so very, you know, and this can work really well for everything from doing the torso to doing arms to, you know, you name it, and the entire body can be broken down into basic shapes. It works really, really well, particularly, you know, if you're just doing exercises to try and get more comfortable with sculpting, maybe you're getting more comfortable with the tablet, whatever it is, it's nice if you can kind of narrow your focus. So, you know, with anything, you want to maybe try, you know, I mean, not the same for everyone, but at least for me and probably for quite a few of us, it's hard to learn a hundred things at once, but we can focus pretty well on a couple of things. We want to focus on just getting comfortable with the forms, block it out with the simple shapes first from, you know, you can find the actual shapes from many, many anatomy books, from online resources, you name it, and then use that as a way to create your shapes. You could also, this is a terrible sculpt, we're going to go back to imagine that one. So, but you could use that for anything. You could use it for sculpting cars, you could use it for sculpting heads, you could use it for just about anything. But you can also, as to take the same kind of workflow, use the actual shapes to build up your basic form. Your basic form. So, again, with dynamic topology, it can be hard sometimes to feel like you know what the shape is going to look like. But you might know, like say you've got a sketchbook and you've just drawn out a couple of lines, you've got the basic profile shape and you kind of know what you want. So, you know, maybe we've got kind of a blocky shape, we might bevel that down a little bit, curve it out like this. Maybe we want to cut out this back shape here, so we might add in a cylinder, we can rotate this along the y-axis. We might use a bool tool, which is just fantastic. Yes, I do. It's available on Blender Artist. If you haven't used it, it's awesome. Um, basically it's a really, really nicely set up macro system for doing boolean operations. So, if we look at my toolbar here, it allows us to very quickly either do it as a brush, which means a modifier, or direct. So, if I want to just like cut out this shape here, you know, maybe I'm doing some kind of maybe this is going to be a helmet, or maybe it's going to be a hard surface vehicle, I can just basically use this as a cut object. So, I can select this, select the other object, and then just say do a difference. It will automatically cut that as a brush. So, as a brush, it just means that it's actually added in a modifier over here, like this. Whereas, if we do it direct, like this, then it basically adds the modifier, applies the modifier, and then deletes the original object. All it is, it's no different than the actual Blender's default boolean modifiers, but allows you to really quickly work to create some cool things. So, you know, maybe I'll do something like this to get a nice profile shape in here. Maybe I will scale that up a little bit. This, and then I can use this again as a cutter. I'm going to take the intersection this time, start to alter the profile, maybe I will add in another cube, pull this down, and so you can really start to build up these great profiles, or even the basic shapes really quickly, and this is really good for doing like conceptual vehicle modeling, if you wanted. So, in this case, I might do a union. You can also use a draw, they've got a draw polybrush, which is kind of cool. So, you just draw out like this, hit enter, and it will create a new poly, which then can be used for all sorts of stuff. So, you might say this, so you can do all sorts of really cool things with that. But, the point is, the reason that it's nice that it's a boolean now, is now it's perfect for going in and doing hard surface sculpting on it. So, if you look in edit mode, we've just got a clean, well, semi-clean measure, there's lots of ingons and things like that, but that's okay. Because I can just switch into sculpt mode, enable dynamic topology, and then maybe switch to clay strips, and I can start polishing this up. And my detail size is way too low than my laptop. There we go. Oh! So, I stripped it down with sub-divide class. So, then I can go in and start smoothing this, and since I've got that initial shape already, you know, I've already kind of got the first step. And so, you know, maybe if this is, maybe this is some weird, you know, it could be anything well, I didn't, it's no longer hard surface. So, you know, whatever it is, it's, it works really well to quickly build up those forms. There's a, um, I forget, oh, Roberto wrote or Roke? I'm probably slaughtering his last name. Uh, he's a blender, blender sculptor that does a lot of dynamic topology work. He does a lot of time lapses that he shares on YouTube. He uses this workflow a lot for doing all, everything from, he does a lot of like sci-fi aliens with helmets and big armor plates and things like that. And it works really well for, particularly like if you want to build up, like if you got a big like circular armor that then you want to add in a bunch of rings and start adding in these kind of like geometric forms that are really hard to do with dynamic topology, you can do that really quick and easily. So, it's really fun for that. Um, uh, any questions right now? I'm going to just kind of hop to random stuff. Uh, okay. So, another thing that, uh, a lot of people have seen is, how do you do hard surface sculpting? It's hard. Um, our tools aren't very good for it, but people are starting to do some really amazing stuff. But something that actually works pretty well. So, since we originally had this hard surface, and then I added a nose and the start of eyes and it's not really hard surface, let's recreate the hard surface. So, you know, if I were making this hard surface, there's probably a couple things I'd want to do. Number one, I would want this to be a nice flat edge. So, I could use my polish brush and just take this down like this. But you'll notice that it's rounded, it's soft. So, I think one of the most powerful tools in blender sculpting that goes way underutilized is the curve system. So, the curve allows us to adjust the falloff or the smoothness at the peak and the edge of the brush. So, if I just set this to a straight line, it's going to actually create a straight line within my brush. And so, this works really well, particularly if we say increase the, uh, dynamic topology detail, maybe down to six. So, then we start getting a nice hard line. And particularly if you do that using the curves, which, yeah, curve. So, this is a new option that we have. We can actually draw out curves in sculpting. It's a little bit of trial and error. Basically, it's almost always going to be relative to your mesh. So, we actually have a I can't forget how to draw a curve. I haven't used it yet. We have an eyedropper here. So, the eyedropper allows us to actually select the size. So, let's just say we don't know what the size is and we're just going to set this really high to 30, which, you know, if we sculpt on here, it's just going to annihilate our mesh. So, we could just either experiment trial and error, slow it down, whatever. Slow it down. Uh, we could just or just use the eyedropper and just click on any of the edges that represent the size that you want to sculpt at. Select that. And it's going to set the size based on that. I believe that's only, yeah, that's only available in the constant detail size. So, because again, the relative is based on your screen size. So, if I zoom way out here, I get nothing. I mean, that should probably an improvement on the model. Now we have a house. Um, yeah, so it's totally relative. Generally, as a rule of thumb is don't add detail unless you need it. So, keep it, you know, use the highest detail size that you can that allows you to do what you need. Um, generally, you know, a lot of sculptors, myself included, will try and block out the overall form with a relatively high detail. You know, basically about this. Um, not much more, more detail. And then we'll once you've got that and you might often times, if you're, if you are using relative, it's also really useful to do subdivide edges. That way you don't accidentally delete your entire mesh like I just did. Um, but yeah, so to keep a really low resolution mesh as long as possible and then just slowly start working your way up. It's very similar to the same technique we use with multi-resolution sculpting, which is don't subdivide and move up a level unless you need to. Um, is everyone familiar with the difference between multi-res and dynamic topology? Okay. Uh, let's see, what else did I have on my list? So basically, like, if you have, say like, going back to the scan, if you wanted to, let's just imagine you wanted a lot smoother. You're saying like an automated way to do the detail fill and then smooth it out as opposed to doing it manually with the brush. Uh, yeah, you could, you could do the detail, the flood fill, and then you could use the, we have a smooth modifier. Uh, this one right here. It's called smooth. Um, I don't know how fast it would work on a really high resolution mesh. You know, something like this is probably fine. You can just increase the factor and then repeat it multiple times and you can see it's starting to smooth out. Um, and that actually, uh, so that, that works, and you know, then you could just apply the modifier or you could then do additional sculpting on it. But keep in mind, you know, depending on how much you smooth it, you're also going to be losing surface detail. You know, there's, because of the smoothing, it's basically just averaging out the surface. Um, it's not maintaining volumes or anything like that, so just be wary of what you're doing. Um, that's the advantage to doing it with a brush is you can be very selective and ensure that you're not changing the surface volume or anything like that. Yeah. You know the questions? Yes. How do you work with? Um, I would generally use, do it Yeah, so the question is how do you work with like doing, say, the inside of the mouth when you're basically only have access to the outside? Um, well, for one, you could just not sculpt the inside of the mouth, which is what I do, mostly. Uh, but that's a lot of good answers. So what, what I generally do is actually do multiple objects. So I'll have one object for the interior of the mouth, and actually generally one, one object for the gums, one object for the teeth, and then one object for the rest of the head. Once you go through the retopology process, you can go in and stitch those together pretty easily. Um, and that way you don't have any seams during animation. But while sculpting, it's generally easier to have those as separate objects. You can, if you sculpt with the mouth open, it's a little bit easier. You can actually, you know, if you're in perspective mode, you can just zoom into the mouth, particularly to use like fly mode or something like, like that, which is really fast. Um, you could do that, but yeah. Well, separate objects is going to be a lot easier. Yes. Yes. So the, so the question is how do you handle, uh, basically thin flat areas such as the, the brim of the cap here? And the, the issue that tends to come up is that stuff like this will happen. So, well, okay, that time it didn't happen. Um, basically it's used the front faces option. So if we have the front faces option on, and we sculpt down, we're going to get intersections. Because what front faces only does, which I think this is enabled by default for some brushes, but not for others. I think the clay strips and clay brush having enabled, enabled by default. Um, but what it does is it makes the brush only act on those faces that are uh, facing the view based on their normals. So these faces back here where their normal is pointing down for the direction of the face, those won't be affected. Whereas if I switch to the other side, we're going to see exactly the inverse. So, does that answer your question? Okay. Yes. Uh, yeah, so the question is, uh, is it better to, to model re, or hard surface objects by hand or sculpt them and do retopology? Uh, it's going to be a personal preference, honestly. Um, frankly our hard surface sculpting tools in Blender aren't there yet. I mean, you can do it absolutely. Um, some people like, if you spend a while figuring out exactly how to do it, how to get nice crisp bevels and things like that, you can absolutely do it. It's hard. Um, I actually have an example. Um, so this is one where I did that. So I started with this and then I went in and sculpted this and I left it, you know, you'll notice that the edges are really rough. There's no really crisp lines. I try to smooth some things out and it works relatively well. So this, you know, you can get the idea, you, you can definitely tell that it's meant to be hard surface and whatnot. And granted, I mean, I didn't spend very much time on this. Um, so it could definitely get much, much cleaner. Uh, but it's really going to come down to your personal preference and what you're doing. In this case, you know, I sculpted, I started from this, I sculpted this all with dynamic topology and then I went in and retopologized it and got this far. Now I didn't create the whole thing but you can see what it is. So now it's a much cleaner mesh. It's got nice, nice edges. And so this worked really well as a design pass. Um, not that I don't, I don't really like the design, but this, the, the advantage to sculpting over poly modeling is it's much more of an artistic process in that you can really kind of play with the design. It's much more gestural. It's a little bit like sculpting or well, a little bit like sketching. It is sculpting. Uh, whereas modeling with objects is you can absolutely be creative with it. You can actually design with modeling, but it tends to be much harder because it's more of a technical process, particularly if you're worried about the topology, then you're worried about the edge flow and, yeah. So if you don't have a design personally I would recommend sculpting. If you have a specific design, like you're just recreating an existing design and it's hard surface, it's probably going to be a lot easier to do the hard surface modeling by hand. Yeah. So it's just using the matcap. So it's a viewport display option. So in the viewport properties under the shading tab just enable the matcap. So this is what it actually looks like and then enable the matcap and then you can actually, there's several included with blender that you can choose and these work really good for just like checking your lighting or your model under different lighting of sorts. Particularly for checking things like you notice with some of these, there's actually a little bit of kind of a crease right here that wasn't noticeable as much on the very reflective model because this actually has some lines in it. But as soon as we go to some of the softer lines, you'll notice that those really kind of pick up the ridge. Now that might be intended, but it helps to really kind of pick out those areas. You can also see that there's a little bit of a divot here, there's a pinch here, this line isn't very sharp, there's actually a, there's a couple of areas in here, there's a little bit of a crease in and so these little details particularly if you're doing hard surface modeling really matter because suddenly the moment that you have like in here you'll notice that this does not have a sharp line yet, there's no crease that looks organic. It doesn't look hard surface. Now if it's meant to be leather or something like that, then sure it might be, but if this were intended to be metal, then those little kinds of divots will really make make all the difference of the world or the portrayal of the model and how people perceive it. Because like if you look at say like these lines here it's very clear that these are a sharp line. It may not be metal, but it's most definitely not skin or anything like that. And so the Christmas of your model, the way that the light plays over and particularly the way that the light catches ridges is really important to hard surface. A really good example actually if you want to see hard surface modeling is look at Apple demo videos. Just Apple computers, anytime that they release a new iPhone, iPad or anything they have a ridiculous attention to detail for the chanfers on their phone particularly on like the iPhone 5 and that's the detail that you kind of want to try and get because what you'll notice is if you have a chanfer and you've got the light source from the top, as the light source comes down it's not like a smooth fall off you have a very distinct line in there and those lines can really define your shape. You can short answer no, long answer yes. So, you can do it a couple different ways. So right now, through here, we don't support custom mat caps. It's on the roadmap. We need somebody to build it. I believe it has some memory issues or something. There's more people that can answer that better than I can. But we used to actually do it through materials and you would actually do it using the blender internal render engine. You would create a material somewhere down here and then you would take one of these mat cap balls and create this and it's nothing more than just a square image with a sphere right up to the edges and then that defines your shading. And what you do is you assign it to an image texture. Now I actually don't have one of these to use but I can show you how it's set up. So you create an image texture you would paint in the map or whatever and then you would assign it not to the UVs but actually to the normal of the object and then if you switch into texture mode then it'll actually work. I think this has enough on it but that should... So that would be the start but that's how we use to do it. The other manual way that you can do it is you can actually just go into the blender source code find the images, replace them with your own and recompile. There's just PNG images. Yeah. That's right. Oh. And actually create the holes as well. Use a boolean. Honestly. We're doing... So... If you need to cut a hole in a dynamic topology mesh the tools are being developed right now to actually sculpt in holes where you can actually take a thin area you can just sculpt a hole directly through it. It's fantastic. It's awesome. Campbell and Anthony are working on it. Give them a high five. It's awesome. But if say for example you have... you've got something like this so here's our car. It's super sexy. So we want to cut out the wheel wells like this. There's no good way to do that in sculpting. And you can do it absolutely. You could go into the dynamic topology you could just start sculpting in right here and then try and crease that line. The issue that you're going to run into is it's going to be really, really hard to keep this line crisp and clean. You could do a couple of things. You could lock the movement of the mesh along the x-axis such that it can't shift left and right. It can only go up and down and forward and back. That will definitely help so that you don't dent in the car. But it's really easy to just do this and then you can just apply them on the car. And so then we have the actual mesh and then you can sculpt on that. So particularly if you wanted to even take it a little further you could then go in and sculpt in the chamfer line here. You could make a nice clean car or a rugged car. That's actually the really nice thing about booleans is if you're using dynamic topology you don't care about the mesh. The reason most people have stayed away from booleans, myself included, for the longest time is booleans make terrible geometry. For the most part with dynamic topology you don't care. It's all triangles. It doesn't matter. You're not going to be animated at mesh anyway. If you want to just cut a hole out or create a wheel well or whatever if you can just cut away or add to your model with booleans it works really well.