All right.
So that's it.
For all the main brushes.
Now I want to talk about the importance of Susan Boyle in the cold masks and facets.
So again, Mask has the shortcut of M then to unmask.
You have to press ALS and then in red mass, you have to press control.
Then I discussed this later, so I press control of M to unmask this.
We have the first option of masking over here.
It's going to mask and area.
So what does that mean if I draw this area?
Now this area is mask.
So it means if I use, for example, grab brush and go to this area, it's not going to effect this
area.
It's going to just affect the area.
That is a mask that is not black.
All right.
What if I go here?
I will draw brush.
I can't draw in this area.
Okay.
And then I have Fox Mask.
It's gonna give me a boxed mask.
Kind of like, just pretty simple sh.
If I click on it, I have lots of mass to select, to mask and area with the lasso tool.
But this and we have nine mask.
So the area that is.
In the shadow is going to be masks.
All right.
That is all about masking, but it's pretty simple to mask what I'm interested in.
That is in the menu, like this menu here mask.
So we have some menus over here.
Mask.
This is in Scopes.
If I go over here, I have some interesting things over here.
Let's go.
I'm in another brush.
Like, for example, rotate over here.
I press m to switch to mask.
Then I start the mask.
All right.
So let's say, for example, I want to only work on the eye area.
So mask this area, this with.
So on the mask, this area.
All right.
No object is not centralized whatsoever.
So let's mask this area.
And then let's mask this area over here and I'll go to my screen over here.
Now, an optional here invert mask.
But as you can see, the shortcut for this control, ISO press control is going to invert the mask as
as you remember, the area that is black isn't going to be affected by any brush.
And that is why is going to be affected.
All right.
So now I can go for like, for example, clear strips.
I can go to these edges over here and maybe make the sharp edges of the landmark.
The landmark maybe right here.
And if I go here, I can affect this.
That's pretty handy.
That's useful to use, right?
Something like that.
So that is, in a word, mask.
But there's a shortcut for these options over here.
It is.
A pretty simple.
So if you press a you have this pie menu.
I have all the important options you need for masking.
So now the mask and I can clear the mask with going here and let it go.
Okay.
And now the mask is clear that this the for go here I have shot the mask is going to sharpen the area
over here.
All right?
I can do it even more.
And then I have the opposite, which is smooth mask.
All right.
It's going to smooth the mask here.
And this is very useful.
Smoothing the mask, shopping the mask is you need to remember what it is.
So now my mask is smooth like this.
All right?
If I use that grab brush, if I grab this area, all right, it's kind of grabbed a much more smoothly.
It's like these are going to fall along the for press a and sharpen the mask like this.
Now, if I grab this area, as you can see, the edges also shot and this is very important.
So maybe you want to make a shape like this.
So you just use masking and just use with sharpen.
When you're done, you clear the mask and you use most this area.
Let me increase the small stretch.
All right.
So that is pretty useful.
So this idea that that is sharpened on a small thing, then we can shrink the mask.
It's going to just shrink the mass.
So this is the mask assumes shrink.
All right.
This is the mask.
This is not the mask.
This black is the mask.
So if I press this, it's going to shrink like this.
The opposite is grow.
The mask is going to grow it like this.
And we have also, other than control, are the option of inverting over here so we can convert the
mask like this.
So, for example, I'm quickly I'm in another brush, all right.
And I'm quickly doing stuff like this.
I want to quickly invert the mask like this.
It's a it's like that right there.
We have increased contrast.
It's going to make it it's going to increase the contrast between the mask and mask.
We can decrease the contrast over here as well.
So you can see here it's going to decrease the contrast, increase of conscious.
I really use this.
I use only sharpened and this sort of the thing it does just fine for the sculpting purposes.
All right.
These are the options we have here, as well as some extra options that I would expect to smooth my
shopping mask.
Mastery messages, contrast, decrease, contrast and invert mask.
A clear mask.
We have bucks mask as well.
This is the same thing as here.
White box mask.
Mask.
And with the shortcut of B.
So this book starts.
Same thing.
How are you?
We have also film masks.
So any object you have, if you press for your mask, it's going to fill the whole object with masks.
So you may want to know why this is useful.
Maybe you're modelling and using some other options, some other objects for masking all that.
And it combine it with hiding you can use.
That's for example, if I do it this mask and then go for hiding backside thing and then hide the head
and then use box and field mask and then press alt est on hide.
Now as you can see, our head is not mask, so that is pretty useful to use this option for field masks.
So with combined with box height over here I can look box hide here, here, here.
And then also.
To the masks then.
Looks hard here.
So I defined the areas I don't want to be mask and go here, mask and full mask and then piss off.
It's too unhurried and then.
All right, that's I think it didn't work because the hands were already masked, unmasked them.
So this is against all the areas, all masked this box, hygiene areas.
Real quick, though, this good mask, still mask.
We forgot about the head mask, full mask and then also edge.
And now these areas are now not mask.
We can use this very cool, but we can use the move brush to move them all at once.
That's the power of mask.
So.
Then we have here expand my sports apology.
I haven't used this much.
I find that that loss of masking and mental masking much more useful if you press shifts a.
A shift away.
Or maybe it is too much.
All right.
If the press shifts away, it's going to.
Starts to unmask or start to unmask, actually from this area.
And if you move your.
Brush up is going to increase the masks like this.
If you go down, it's going to decrease the mask.
If it click, you have an unmasked area like this, right?
It should do it en masse.
This can shift a.
All right.
So what does the this is this option expand mask what's policy is shift this is expand mask buy normal
and it's going to expand the mask based on the normals of the face.
So for press shifts also a.
Shift of it's going to expand the mask based on notes.
So right now, I think we have one offshoot that is not going to do much.
All right.
These are for some specific things.
I've seen people use this shift A to quickly mask and an will like this shift a.
To this.
But as you can see, it's lacking.
I don't know why is lagging or is lying and they can unmask this area quickly, like do changes.
Right.
But as I say, use this loss on mask or here.
So by shift control or even control shift mask, you can switch to less and less control shift click
Russell Mask.
With this control less than an inverse of the game console shift click to last month in a year to convert
that a to sharp and then g to move the move this year like that.
All right.
So this.
Explain my sports policy.
So the next very, very, very useful option masking is mask is extra.
This is where masking becomes so useful because I mean when you making clothes like.
I'm gonna be close for five single and think about how to make clothes.
Like how we sculpt clothes.
All, it's gotten closer, actually, pretty easy.
You just have to mask any area that you want to close to be like this at once.
Make maybe the T-shirt with that.
Right.
Then you go to maybe a small area like this, or actually you shot the area like this at any you want
these masks area to be like duplicate that, right?
Like for example, we can do the same thing in edit 44.
Go here, go here.
If you remember in our previous videos, if I select an area and then press shifty, I can have another
option over here, another surface that is on top of my software.
It's just shifted.
So the idea is the same thing here with masks.
So we are we can use this mask to define the area that we want.
Have another object in use that is option mask extract.
So far in my mask extract, I have some options here.
First, we need to we have the threshold.
You can change the minimum mask value.
All right, I don't use this.
I didn't change this at all.
So you can just use a different value.
But the boundary loop is going to make a boundary loop.
And for something like this shape that we want, some boundary is useful.
So enable all this situation.
It's going to make the surface smooth after the operation.
All right.
The product to sculpt is going to make the surface start to become a duplicate here.
Two projects on the sculpt is so because we are making a clothes are going to make this optional because
we want this object to be on our object.
I mean, it's a solid if I turn it on, it's going to make a solidify modify modifier over here.
All right.
So it's going to make a solid format for here.
Let's go again.
Mask set.
So if I hit okay now when the is calculated in this area to make a new object, now the new object is
made over here.
So this is in new object.
All right.
With a solid, if I might say, four, a hot party over here.
This is our objects.
It's sort of a modifier that we can change the thickness over here.
Right.
Pretty simple.
Just taken us over here.
Something like this.
You can't even use only reams of.
So don't have a double.
The professor's.
And in Britain we can apply this modifier and then go to school and then maybe combine it with mesh
filter and go to smooth to smoke this area, this mesh we have.
So we get something like this.
Now it's beginning to look more like floats, right?
That was just with some simple clicks.
And if I enable our buddy now we have this and if I go to edit both physical and press of S to make
some inflection.
All right.
It also s make some information and then close to be unsolved of our caps.
And now we have a simple glue.
We can add more maybe after this.
Well, first we can add another solidify to add more smooth double thickness here.
Something like this.
All right, then.
This is what we should do, that we have a simple clothes on our checks and a very, very fast.
So now you see the the power of masking when it comes to sculpts.
Okay.
So without excluding a solid, it's not going to make the solidifying modifier.
But this is actually useful in some cases.
So, for example, if I go if I go to tap and press a if you remember in previous video, I use all
the extras faces along normals with this option I can see how much thickness I'm adding.
So if I do that and go to the area like here.
All right, now, for example, maybe I can even.
First press office to make the mesh on top of my part of the body, then press healthy, extrude or
not no more.
I have to extrusion now because I undid that.
I pressed right click.
But yeah, so now I have it excluding animals I would sickness.
See my teeth are like I can see better that how much thickness and adding.
All right.
So that is my a strike Shrek both have some options over here so for example mask slice see through
the actually with the you experience so it is not you know take too much time.
So if I lost a mask with control shifts clicking or here if I go here mask and mask personal mask a
slice burner is gonna slice the area that I have masks over here so secure click clicking mask slice
now this these.
Slice.
This area is actually tilted.
All right, but we have a hole over here, so maybe that's what you want, but like, it's based on
the case.
But I really use mascot slice.
I really use it's like I can use if I wanted to.
I use one project and just.
All right.
And I just use one project to do this.
Like it is something like this is much more efficient.
Right.
But the good option over here is mask is close and feel holes.
Now, this is different.
This is going to slice this and then feel the holes.
So if I show you this, this is sliced when it sliced, this area, the mask area and the field, the
holes like this and this is very useful, especially when using the re meshing workflow which we are
going to talk in the next videos.
But there we have another option which is very useful is to slice this object.
So it's going to slice it and make it to make it to new objects if it cohere, assist in the object,
not this is a new object.
So now I'm an object, not this is a new object.
This can prove to be useful as well, especially when we are maybe in support vehicle here and should
move to move object right here.
So now that I have some object like 1 to 3 objects and remove this.
So I think we're done with the mass.
We can also use randomness to make some random masks based on first set some vertex and based on those
parts that these are the loose parts actually, these are not connected to each other.
So they're not just possible if you have loose parts like an object, meaning this specific, for example,
if you go here and add like a bunch of cubes.
It's something like this.
If I go this cup mode and then press mask and the mask sports is going to first mask this this part.
So this is the first last part.
This is the second lowest part is the third one.
Then if I do it again, it's going to mask another one is going to mask good.
And if I do it again, it's going to randomly choose the mask.
So I don't know how can use this.
I know it isn't, but maybe you find the use for it.
So let me actually delete excuse.
All right.
There's another important.
It means kill these down and maybe add some other up.
So other shapes.
So burned a tree and blew a 2.9 tree.
Uh, there was a, there was thing that was added.
That with the SO before the 2.93, we had to and we are sculpting in multiple objects on this costume.
This object coherence is not over here.
And if I want to go on to sculpt on this object, I had to consult out object mode, clicking on logic,
sculpt mode and then start sculpting.
Well, then boil in 2.93.
It was the option was either to press circle it was D to switch between objects and now is even better.
So the shortcut is channels and it is alt.
Q All right, so if I am now in this object over here, I'm doing some sculpting.
If I want to go to another object here, I have to hover my mouse on the other object and hold Alt and
Q and then it's going to make a red glow to show me that I have now changed the objects.
All right, so if I go here now, I can adjust this.
If I go here of Q, I can just go here.
Just this is.
Q of queue of Q.
Q So, for example, imagine we have made in the case of making clothes made out of accessory clothes,
a pants, shoe, golf hats, maybe you have some exercise of your sculpting.
So this way now important is three points.
Oh, we can use this feature to.
Go between object very fast and sculpts onto.
Right.
That's pretty cool.
So let's still eat this.
We don't need them now.
And let's go and make Susanna with one station.
Or to actually send out the last fourth of this with you is fists.
It's so what our faces, for example, you wants to work on the eyes of your character and then you
have one option to mask it and you have to mask on.
Then you go to a inverted and work on the eyes, but then you have to delete the mask.
It's also you have to mask that mouth area because you want to work on the mouth area.
You have to press control it and go work on it and so on.
Right?
So face, let's make the make this work for easier for you.
Say for go here and go to your face.
It's all right.
And if you click on an area, it's control and let's enable symmetry.
Right now, it's kind of draw a color on your surface.
All right.
If you let go and if you draw again, it's going to make another color.
All right.
And if you could go on your draw and the color and the color.
If you want to continue to make this color while you're hovering your mouse on this color shift or no,
I should press control to make more colors somewhat best in control of the shapes you want and smooth
the edges of.
Yes.
I can see the edges of.
Right here is to.
Shut.
You cannot smooth out this.
All right.
So now what is the uses of this?
So, for example, if I go here, I want to work on the nose over here.
Now, I actually hide it with.
Shift at the heart of this sea focus of search, we are at press edge.
I'm going to only show my nose over here and I could start use it just like this.
Our peristaltic to bring back all the other ones.
If we go here now.
Press edge.
I am going to hide all the other things.
I'm going to adjust it like this.
Press all edge.
Let's bring back all the other parts.
So this is going to hide the parts by hovering your mouse.
So if I go here, it's a number.
The shortcut is edge.
To hide the parts.
To hide the parts, it's all edge to hide.
One part is shifted.
So edge is going to hide all the other parts except the part.
Your hovering, your mouse on the shift edge is going to hide the part that you have and get safer.
Well, my mouse is okay if I press shift.
Edge is going to hide this one shift over here.
It's going to hide.
This one is press office.
Remember, this one area is actually the one face.
It's like this is one face.
If a perceived edge over here, it's going to remove that area.
So that's the whole thing about face.
Let's go here.
We have vaccine.
It's going to is the same thing as the masking plexiglass focusing that at all.
Right this is the main thing you need to remember and also control click will continue to make it the
same color that you are holding in my super cool here in control.
Click is going to be ready for go here and control click.
It's going to be yellow for go here and Control Click.
It's going to be this color.
Then we have over here some options for fischnaller we can use.
Let's right.
So there is a pie menu for first as many as well.
So for the mass we had a or at the point of a mass the pie menu for the.
Five sets is W so W is for the primary office.
It's and we have these options, most of them over here.
So we have four options actually over here.
So if I had w we have sure old faces from mask but visible and faces from visible.
So for example.
If I press, I'm sure all is going to show all the hidden parts.
If a heart hide this course or here I'm a bit distorted and press w all it's going to show all the parts
are hidden like the same thing with all edge.
If I go here and maybe hide the sport and hide the sport and no w face it from visible is going to make
a face id from the visible parts.
All right.
So that is useful with combination with the puck slides.
So if I use pucks right and let's actually delete all the fertility, all the faces of all your object
is for inside, but no part is hidden.
Let's go w faces from this.
Now it has one face like I want to have face set from visible a good backside like here and then hide
this and then a good double.
You face this one visible.
Now this part face.
Now, if I pressed multiple or double usual, now I have to face.
If I go to backside and do even more like this and double you face it from visible, it's going to make
a face over here.
And if it goes to show, all is going to make face.
It's all here.
So that's combinations.
If you use the backside and the fist, it's the something you should do.
It's a mask looks like.
So you can also so press face from visible to make one face.
It can also if you use masking, you also use masking like this.
And then if we go here face to face from mask, you're going to have a face as from the mask you created.
Also remember that you also has that mask ordered.
So don't forget to ask them to remove the mask.
We have fiserv for physical distancing.
We have it department.
We're here w we have fiserv from id one solution.
For example, go to Elmont and go over here and select this says we're here.
Let's go back to this couple and then press on this.
First of all, it's going to make a fist from the selection.
Do we have all this over here?
The same thing we have in masking with more options.
And, you know, don't use this moss where you can use them like face off from material.
From material you can use face sets from Louis Pass or like for example, in this in this case, we
have the eyes as loose parts and the head.
So you have three spots.
It made three faces, some quick faces like that from the movie seems.
For edge quizzes from fist bumps.
Maybe you all can throw them out to make them look from use.
From loose.
From loose pores is the best thing that seems for the most part for most kids.
Then the same thing we had for the masking with which you press shift h to start the mask from points.
Right.
Then we have the same thing for the face.
So if I press control w I'm going to grow the mask from one area.
So so press control w and draw.
No, actually, it's not the effect of once.
I don't know what's happening, so let me try that yourself.
To see why.
It's not even for me, but definitely it's right for it.
So they because maybe because we have one the one face that's difficult here and console W Yeah, sure.
So yeah, this is only for growing first sets.
So I got it confused with this optional expand facets with which you had your here.
So that's why I was working say is it's just this is just growing and shrinking visits so console level
is going to grow control of the is going to pick this offices we have also I guess if W to grow the
faces like this and then yeah shifts ultimately make stuff like this girl faces from supposed to her
faces excellent active faces.
All right.
The next option is exquisite.
So, for example, now the exact same thing with masking.
We want to make couple of extraction.
So it it is this it is a new go here SFX face and we're gonna choose the face and we also want this
part of my face.
Since I have couple of faces, I want this part to be extracted.
I'm going to select on this.
And this is going to make me another object with.
Started.
The family for the king used to make shapes.
Right.
That is pretty useful as well.
There's a side vested.
The other thing is in worse physical facet.
Jutting is over here.
All right.
So the prison here shifts extra and shifts over here to hide these past and the present doubly inbred
visit visible.
It's going to convert the visible parts.
And then show all it's going to show.
Show all of his stuff is w here show.
So they might maybe have randomize color to make other colors if you're not happy with the colors,
maybe.
So yeah, that's it about face.
So that's all about this sculpturing, you know, you know everything about the scope menu except on
support and reimaging.
I'm going to explain in the next videos, in separate videos.
But there's one thing over here.
Sculpting.
These options are not very these options are not very useful, except the height masked and separate.
So, for example, if you mask an area and you want to quickly hides ethical here and hide mask, so
it's going to have the same effect as deficits but with face.
So it's much.
Much more faster.
Right.
So if I might ask this area control, I there's one option here that I showed you kind of how to use
it.
If I want to move it over here and move it, move this area.
The better one to explain.
Maybe that is if I could go and press them.
To mask this area I should press control shift click to less mask Syria because last the mask is going
to also.
Must area behind.
So remember that also about my laser mask.
So if a laser mask, this area, not only this area that is in the front, is going to get the mask.
The area behind is also is going to make masks to look at it like a like a tunnel, like it's going
to make a tunnel and go through the object and mask everything that is within the radius of the brush.
So I have masked this area and let's just smooth it a little bit.
A sports analyst converted.
So I want to move these two years over here.
I'll go here.
I have to set the pivot for you that I can achieve its origin from my sport.
Like the light advertisement is surface under the cursor.
But I'm interesting of a mask in these situations because I wants to change to move based on the mask.
If you go to change to mask, it's going to move it to the mask area because I have a symmetrical uppercase
over here.
It's going to move to the top of one of these two.
So to go here.
So again, yeah, it's going to go to one of these objects cervical here and then it's a move brush
over here and move it.
You can move it like this.
All right.
So we don't have these effects with selective origin, maybe because the origin of the monkey over here,
I may might not have the same effect.
And it's going to be whole.
And maybe with the Lex, for example, the origin is going to be up here.
You even don't see the points that you can change.
So you can go here to sculpt subjects and pivot to a mask.
So that's all about the Scotsman.
Yeah.
I hope you learned something in this video.
If you know about any options, this company, you can refer to the aquatic of brochures.
You can refer to this with you.
But usually the brushes we're going to use, mostly it's going to be dry brush, it's going to be draw
sharp.
It's going to be clay strips.
It's going to be inflates.
And these are the main brushes with the combination always like with grab brush, grab brush always.
So we only use one, two, three, four, five, these five brushes all the time with this 1/1, like,
can I add it to like it's kind of like holding shifts.
So it's this all the brushes we need to for sculpting.
But these are the other brushes that you have in blender you can use and to use cups.
All right.
So, yeah, in the next video, I'm going to explain to you about the remixing and DOWNSAMPLE, and
then we're going to get to consider sculpting.
So that's the next videos.
Goodbye.