In this lesson, we look at some of the specific Preferences I’m using for modeling and recording, and then we import the reference images into the different 3d views. We also briefly go over how to navigate the 3D views.

There's also a quick overview of the best (or at least, my preferred) way to set up a drawing tablet for sculpting.

Rather than starting with complex parts of the model, we start with something simple: The shoes of the character.

This way we get an introduction of the basics of Box Modeling, and how to quickly get the shape you want. We also look at how to add Annotations, how to use the Subdiv modifier and how to properly mirror an object.

This lesson demonstrates a simple but effective method for creating the socks, using procedural Cloud textures with the Displace modifier. Then we adjust the shape using Extrusions and Proportional Editing.

As an alternative workflow, we look at creating the same socks but with the Pose Sculpt brush in Sculpt Mode, that uses Cloth Simulation in order to quickly add realistic folds.

We also look at what flipped Normals are and how to solve them, as well as how to use the Grab brush. Then we introduce an extension called LoopTools and look at how to use it to our benefit in this example (this extension is one of the free, default ones for Blender).

A second alternative workflow also uses sculpting tools. In this lesson, I want to introduce you to creating folds manually. So as not to overwhelm you, we use the Mask brush to first carefully lay in our strokes. Then we can use the Mesh Filter to inflate them, and the Smooth brush to make these folds look nice.

This gives us an easy introduction to more fold scupting techniques using the Draw brush. Creating nice folds is an important part of creating 3D clothing in general, so it’s good to have a few different workflows under your belt.

We use box modeling again, this time to quickly create the legs. You’ll be surprised at how fast we can create nice looking legs with this technique. To have proper deformations for animation, we add some more geometry to the knee using the Inset tool as well as Vertex Sliding.

That way when the leg bends, the textures don’t get visibly stretched. Using the Grab brush, the socks are made to fit perfectly around the legs.

Making the arms is exactly the same as making the legs, although there is the added challenge of connecting it to the hand later.

But for now, we don’t have to worry about that. Here too, we have to make sure the elbow has enough geometry, like we did with the knee earlier.

The torso is made with box modeling as well. Initially we block the shape out while looking at the references, then in the 3D viewport in perspective mode, we tweak individual Vertices until the shape looks good.

Then we go back to the reference and adjust the shape as needed using Proportional Editing. We also extrude the next. It’s important to prepare the right amount of Vertices in the places where the arms and legs connect.

In this lesson the arms and legs are attached to the torso. Here we look at how to join objects, how to bridge Edges to create geometry between them and how to best use Proportional Editing with separate but joined parts, in order to line them up as close as possible before connecting the geometry. 

Then once these parts are all connected, we fine-tune the overall shape before moving on.

We start with the finger, and then we connect them to each other. Then we learn how to reduce the complexity of geometry, by Vertex Sliding and using Auto Merge.

To make sure we have all Quad topology (better for animation) we add some strategic loops to turn triangles into quads. Then we extrude the rest of the hand, and add some Edge Loops so we can extrude the thumb. After that we do some shape adjustments, so the hand looks nice.

Now the hands need to be attached to the arms. But there’s a problem: The hand had more Vertices than the arm.

So how to you go from more to less geometry and still keep quad topology? We dive into this as well as how to use sculpt mode to relax and better distribute the geometry.

Clothes are a big part of making a 3D character, so we dedicate several lessons to it. In this first one, we extract geometry from the body and adjust the topology to better suit the clothing.

Here and there we need to add more geometry, so that there’s enough to work with later. Proper topology is important for being able to extrude certain parts, as well as for sculpting folds.

In this lesson we extrude certain prepared parts of the pants, so we can add more detail. We also look at how to make geometry more sharp when using Subdivision, and some very useful options in the Bevel menu and the Loop Cut and Slide menu.

We also look at different ways to scale geometry, and how to transform with Individual Origins. Using these techniques, we quickly create the belt and lower pant folds, as well as a subtle rim around the top of these garden pants.

Now that we have exactly the geometry that we need, we can create some nice folds in these clothes. We look at a couple of different techniques, and then use the masking method we used earlier for the socks.

Then we look at how to use the Draw brush to create positive and negative folds. We can also use the Mask in sculpt mode with different Stroke Methods, which allows us to easily create straight lines with the Mask tool. 

Next, we add pockets to the clothing. This is easily done by blocking out the general shape in 2D, and then projecting it onto the pants using Snapping to Faces.

Then, we adjust the sharpness of the pocket edges by adding some more geometry as needed. After that, we sculpt in some folds using the underlying pants for reference.

Before we can finish the pants, we need to add the shirt, so we know exactly where the suspender straps of the pants should go. This is also done by extracting the geometry from the body.

A duplicate of this geometry is made for use for the upper body and neck.

Using the Skin modifier, we create some buckles to put on the straps. We also look at how to adjust the straps so they fit through the buckles.

Starting with a Torus primitive, we create some simple buttons.

Before you start messing with complicated head topology, it’s important to block out the general shape. This is done with box modeling. In this lesson we look at using the Grab sculpt brush instead of proportional editing. It’s a great tool for refining shapes like this. We also add a simple nose and ear, all of which will help a lot in the next stages.

After looking at the provided topology guide, we first create the topology in 2D. That makes it a lot easier, as you don’t have to worry about snapping it to the base mesh while creating more geometry.

You just model the correct topology flow in 2D, and then snap it to the 3D blockout. Optionally you can use colours to identify loops, just so that you can see better what’s happening.

Having made the front of the face, we create the back of the head as well as the ear. To create the back of the head we can simply borrow some geometry from the blockout.

Then we connect everything and make sure we have proper topology for subdivision and animation.

After connecting the neck and the head, we use the Grab brush and smooth brush to fine-tune the shape and topology of the head and face.

You’ll be surprised how easy it is to do all this, if you break it down into those steps.

Rather than doing everything with Curves that have a specific profile, we divide the hair workflow into 3 main steps. First, we use the sculpting techniques we’ve learnt so far, to create the main shape of the hair, especially on the back of the head.

Doing this with many separate curves would be very tedious and time-consuming, so doing it this way saves a lot of time, and in my opinion it’s more fun as well.

Hi! I'm Jan, I've been making Blender tutorials since 2017, mostly with 1-minute "Blender Secrets" shared on social media, to almost 300k followers on Instagram. I want to share what I learn, as I know very well how hard it can be to learn Blender. Prior to "Blender Secrets" I was a freelance 3D and motion graphics artist.