Create Professional 3D Models from Scratch in Maya | Alex Zaragoza | Skillshare

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Create Professional 3D Models from Scratch in Maya

teacher avatar Alex Zaragoza, 3D Artist

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

23 Lessons (6h 19m)
    • 1. Promovideo

      0:49
    • 2. 01 - 01 ReferenceGathering

      1:50
    • 3. 01 - 02 Sillhouettes

      13:25
    • 4. 01 - 03 LineDrawing

      34:18
    • 5. 01 - 04 DesignSketching

      9:21
    • 6. 01 - 05 PaintingValues

      12:05
    • 7. 02 - 01 WelcomeToSection2

      1:05
    • 8. 02 - 02 Interface

      8:32
    • 9. 02 - 03 PrimitivesAndTransformTools

      6:21
    • 10. 02 - 04 Components

      4:08
    • 11. 02 - 05 Inputs

      7:46
    • 12. 02 - 06 CommonToolsAndMenus

      9:23
    • 13. 02 - 07 Outliner

      3:02
    • 14. 03 - 01 MenuMesh

      7:04
    • 15. 03 - 02 MenuEditMesh

      8:39
    • 16. 03 - 03 MeshTools

      5:55
    • 17. 04 - 01 ProxyModeling

      20:50
    • 18. 04 - 02 ModelingTheBody

      78:27
    • 19. 04 - 03 ModelingTheLegs

      27:29
    • 20. 04 - 04 ModelingTheArms

      17:04
    • 21. 04 - 05 ModelingExtras

      42:20
    • 22. 05 - 01 Rendering

      45:22
    • 23. 05 - 01 PostProduction

      13:36
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About This Class

Learning 3D packages can be very complex and time-consuming when doing it by yourself. I want to make the learning process easy for you, going through the basics of the program step by step in very detailed videos.

There's a whole section of the course dedicated to interface, menus, and tools, that way, students who are not experienced at all can go back as many times as needed.

But that doesn't mean it will only be useful to new users. Intermediate to advanced students will find content in these lessons very useful too, as we go through the fundamentals of creating concept art and models using powerful modeling techniques and shortcuts.

You'll learn tips and shortcuts that will accelerate your workflow and make you understand the fundamentals of 3D modeling.

We'll cover powerful techniques to create professional looking images to sell our work as 3D artists.

So please, take this course now.

Testimonials:

"As a Maya intermediate user, this course was very useful for me, it helped me refine my workflow a lot."

- Omar Kamel

"I am really enjoying this so far. I think what Alex is good at is at making things enjoyable. Photoshop always felt awkward to me for painting and making concept art but by starting with a silhouette, mixing and matching and running through the techniques he provides it actually makes the step enjoyable and fun."

- Nicholas Brajkovic

Meet Your Teacher

Teacher Profile Image

Alex Zaragoza

3D Artist

Teacher

I'm a 3D artist working mainly as an Environment and Prop artist for feature film, and video games.

In the past, I have also worked as a Character Rigger and a CG Generalist. I enjoy learning about every aspect of the CG Pipelines, always looking for new tools and processes to make my work better.

I have previously taught in my career, though never through online courses. I've come to Skillshare looking for new ways to teach and help others improve.

Feel free to contact me on LinkedIn for any kind of professional matters.

See full profile

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Transcripts

1. Promovideo: hi. If you want to learn how to model assets for animation, visual effects or video games, this is the curse for you. My name is Alex. I'm a three D artists working for the feature film and the video games industry, and I'm here to help you learned all the tools needed to create awesome looking assets. This curse is perfect for you to get started with industry standard packages such as May 2017 we will go through all the artistic process of designing, modeling and rendering our model in very detailed videos. By the end of the curse, you'll have all the knowledge and need to create professional three D models. Maya is remained tool in disgrace, but we will be working with forest up to. I also offer 100% money back guarantee, no questions asked. So what are you waiting for? Please take this cars now 2. 01 - 01 ReferenceGathering: Hello and welcome to this. Listen, so already went ahead and created these two folders, the first one's called Pre Production. And that one is going to be used to start all our concept, art and reference stuff and just to keep this organized. And then we have our production folder that's gonna be used mainly for our three d work. So whenever we're ready to jump into my and start building the robot after we're done with the concept art, we're gonna be saving into these folder. But for now, let's focus in this one. Inside this one. I already made an extra folder called Ref for all my references, and I have already surged. We're browsed the Internet for some references, and I found this really cool old TV's I'm gonna be using for my concept art. And it doesn't have to be only TV's. I mean, it could be whatever you're you like. But, for example, this image inspires me a bit and has a couple of pieces I want to use in the robot. So it's also find to grab this kind of photographs, so I'll see in the next lesson after you grab all your references and inspiration photos. You can also use images, illustrations, air concept art from other artists. I I like to work with riel stuff or photographs. That's why I don't have any illustrations in the year. So I hope that's clear and I'll catching the next lesson. 3. 01 - 02 Sillhouettes : welcome to this. Listen, what I want to do first is create and filing Photoshopped, and it should be, um, big enough. This should be fine. To have all my references and whatever I want to be drawing in the same file. So, huh, More than have I need extra space. Okay, so that's also open all my references I have in here, I'm gonna grab all of them. There you go. And to get them holding to that first fight, I'm going to right click the you later, you get layer. And there's one entitled one. That's the one. Okay. And close this file right click layer duplicate onto these document and okay, Close. Let's do that for all off our files. This is gonna be super useful because I can have all my references. Um, really close. That's sometimes an issue when you have a reference, has seen another monitor or even in the background or not seeing from all the time. So I like to work this way. You can do it or not if it's uncomfortable for you, but I high recommend to do it. So there's my references. Um, gonna growth. Um, Control G called this riff and my background hitting control you I'm gonna bring the likeness down a little so it doesn't hurt my ice. Meaning if to, um, frame this. And now I'm gonna put all my references. They have been to the side V to move them. This is too little. Let's big hitting control t to bring this transform tool. And I'm sure, except so that's this. So whoops can put them like this. Yeah. Go spring this every. I think that also the zone let's make bigger. I know their pick slating, but it's okay. They're just references. There's last one. I think this one's really cute, huh? Okay, so I'm gonna close that and block the layer, so I cannot at it are something. I'm gonna create a new layer, and I'm gonna call this seal away. I don't know if that's how it spilled, but I guess it is so gonna be to grow up my brush to and I want to make sure that it's capacities 100%. Also the flow, and it's black, right? Also, we could enable the pen pressure. That way I can into this with the pressure of my pen. Okay, that way, it will be easier for the Sioux. It's and let's start. Generally, I use the timer for this process. I don't want to spend, like more than a minute for each for to it that way, in maybe 10 minutes, I can have maybe less than a minute, you know, so that in very little time you have a lot of off sketches you can throw away and you'll start, like finding the correct path. So I'm going. I'm not going to use time right now, but I'll try to keep it. Keep short, every every, every Sylhet. OK, so maybe with larger brush. Yeah, that's right. And I want to make something Remember, we're doing a robot made of no TV, something like this. It's gonna be kind of stylist. So I know these are real life references or this most of them, but I'll try Dio to make it a little bit cartoon. Okay, so that's one for the site. I may want him do these insipid that you're so that I have control over each one. So it's making a later hit, the for the Racer cult and my right click withholding. I can make my brush bigger. That's why he is here, then Great clicking and using this later, at least for me, because I have official input of the size of brush. So it's not just handing, but also racing is, um, pretty useful. And try not to do the same shapes each time. Try to, um, different stuff. I like this one. Um, that's go. So this prison should be really quick. This for each. See what? That where you can make a lot of them queer. Remember, it doesn't have to. Perfect. This is just catching, like trying to get the design before we commit to anything. Um, maybe there's one hus before. Thanks on. Try and look at my references for Morsi led stuff with the cable can be seen like that. Um, it's kind of hard because seaweed weiss there almost flat, at least from this view from the front. I like this the cantina idea. So I'm probably going to use it for most of them. Try something even though I'm gonna use it. Let's try something different each time. Could be something like then channel really like, And that's why I should have my timer. So that way. I wouldn't be taking so much time of this one. I'm gonna live like that later. I can calm and grab whatever. Like from once you go ahead and put into another one. So this process normally is one of the most important because it defines the whole project from the beginning. So you want to spend as much time us, US required or us needed. Don't try to rush through things like this. So let's try to make this more around. It only borders. I think so. Still, the middle. Maybe this good works years or something like that. That could work. Okay, so this and I'll do a couple more. Trying to Different things are different shapes each time concerned. Okay, for me, it's much is here to try to imagine thistle words from a front view, as you can see, but this is not the only way of doing it. So whatever it works for you, it's fine if you like to do it. 3/4 that's okay. Go during one more, creating new lawyer for each one. That way, I have them separate, just in case I need to go back to any of those Miccoli's one large. Okay, Okay. Something like this looks cool. And there you go. So feel free to make as many as needed. I'm gonna choose from this, and I'll see you in the next lesson after I have my decisions. Okay, so catch there. 4. 01 - 03 LineDrawing : Hey, welcome to this. Listen, So I think I've made my decision. I like there's one. And this one very much so I don't want to do is, uh, duplicate them with Ault and drugged. Um, there you go. It's ways to There's one putting on top. Also, this one trouble the salutes and made and group them. So, uh, like that end up, put them in here just to have them in there, just just in case I need to go back to any of them at some point. So right now, what I want do is like both of this, but I want explore the 80 every more. So using. Maybe. Let's put it in year. There's running here, and I'm gonna get the 1st 1 and try to edit this shape to get ah, maybe something more interesting. So I'm gonna grab with my last tool. Bring that up. Something like that. Maybe the arms should be up to that. Looks better. Yeah, like that. More so. You see how this way we can start refining the shapes it has. We shouldn't take a lot of this off time. I mean, in this process or not, a listing each, um, see what? For the same reason way had the bust lesson. We don't want to spend a lot of each one of this. The or most of them will be just related are not dilated with used for the final product. So I like something like that. I think that looks a little bit better. Let's try and do one more. That's the beauty of working with a steel. It's you can do stuff like I just did and get away with. It doesn't look bad at all. I want to look, take a look at my references, maybe do something like this. I like that. Maybe have the cable running. Let's go and you can see difference is pretty quick, right? It starts to look way better after, um, a couple of sketches. So it's really important to take the time for this, the time needed for this process. I see a lot of people who don't like just kitsch like not even do. I mean, if you have a concept art, you obviously don't need to go through all of this, and that would be ideal. But if you want to make your own design going directly into the three D program. It's maybe not not the best idea, because because you're not capable of doing it. But it will take you so much time to do this. We're doing in just a couple of minutes in three D. It'll takes so much time, it's not even worth it. So, yeah, I like there's one a lot. It's foot descending like that. Okay, so now this one, let's try. I don't really like this one, so I mean, I like it, but not as much as this. Let's try to dio some stuff. If I'm not able to pull out anything cool, I'll keep working with the other one. So I'm thinking this. Give him an idea and I may want to have the back of the TV open. That way we can see a lot of the off stuff it has inside. That would be really cool. Um, I'll think about it. And if I decide to go that way, I'll need to go. But I can look for references off the internal parts off a teen, so I'm actually liking this one in control. See, I didn't like that. The best part this one looks pretty cool. I don't know. I'll have to keep working with both of this. So let's put that in top also. Where is it? What? This one. And where is the other one? There. It's went up. Gonna group all this layers, kill them and put them in here. I'm gonna skill this big more. I'm running out of space. There you go. So the next step would be, um yeah, I'm liking both of them. Um, so the next step would be lying. So I'm kind of bring both of this into much lower capacity. Something like that. Let's do it. This and I'm gonna duplicate. Put them in here of them all. Just getting in with Ault drag. Grab them all. And it's I don't wanna gonna duplicate the first ones just to have ah copy of those gonna enough and gonna merge all of this. So gonna make a new layer. Name it blank. I could be more organized with this. Um, but sometimes I'm just into sketching and I forget to all the naming stuff, so that's try a little smaller. Try not to take a lot of time with this tomb, So camp And you can, um, stop following the seal it In some cases, you don't have to be, like, super accurate. I like this part. Just feel free. Dio, try more stuff. Okay? It looks nice. Some may be something, so I still need to figure out water. These parts made off, but we're getting somewhere Headaches. Pretty nice. I like a lot. That's, um, looking pretty cute. That's for this. That was the a d A had before starting. So we're going to the right track. Um, something like that. But I can try not to repeat the same shapes you did in other visions. He screamed. No, maybe. Oh, yeah. Let's try this. It's kind of the same duration of this one, but in this hilo, it I'm not really digging in. So let's go to the next one. - Oh , it's trying 10 years for this. Okay, So, as I said, you could try different things, even if the two it doesn't match. So I'm thinking I'm gonna stay with two off bitch just to keep this video short. It's being going for 15 minutes now, so it's nice having a lot of functions, but sometimes you already made up your mind. Try a short hands for this guy. Should arms. I meant sorry. Yes, and we have for sketches. Now I'm liking this one a lot. So I think that's the one I'm going go with so us always. It's gonna get rid of this tune. I don't need them anymore. Just supplication bring down a bit and I'll scale this and put them some weight here and now in the zone. Get rid off. Once I don't need gonna put this in, that group will fall the same process we did before. Let me just three. Maybe just chill, right? Because weaken, spend more time on these ones have to variations. So I'm gonna bring capacity down again. Yeah. Merge them and in a new layer to start spring it down a little bit more. And in my new later look, that's just start doing more queen flying hopes this one's should have a lot more detail. You could take us many steps to one. You can repeat and Trigon after these another two or three versions and repeat that again and again until you're happy with the design. So there's no limit to that like this again. I'm no concept artist, but like following this, um, like this path of making seal, it's and rating a lot usually brings good results. Even if you're not us skilled as someone who may maybe very skilled drawing or someone who can lander design in his or her first attempt. So don't worry, we'll get there. I don't like that part. I kind of want to have some y yours around this guy. I don't know if if I put them in the arms are just in the back like this. Maybe cynically so be smaller. Maybe he should have some some wires going on like this. You know, it's the mechanisms. There you go. I can get very much. I still want to, um, go browse the internet and, um, just, like, search for more references so I can decide, Uh, water thes parts made of, like, what are his legs made of? Um, are what kind off metal our hiss arms made off, or, uh, I don't know. Just maybe what could help also is create a little story for these guy, and I kissed. I guess it could just come up with something while I'm sketching this. So let's say this guy plus assembled by the by a guy, right? Who works at a What is it? Cold? Look it up at a dump, huh? And thes guy Who's the owner off the dumper? Yeah, he's the owner of the dump. I'm sorry for that. Maybe he is his hobby. He's making stuff or robots in this case, off stuff he finds interesting in his dump so that these robots can make his life issues. So he's so lazy he wants so bad a TV that, um I mean hell, he likes watching to be right. That's what he's making guy TV robot. So one of the things he likes the most is watching to be before going to sleep. But he doesn't have money for a new TV and the one he has, he's he said, the living room, and he could grab an old TV and just put in the room, right? One of the TV said the dump, But there's not that a lot of space in his room. So what he decides to do is make a robot out off TV that can move it by itself because he's too lazy to carry it right, And that's how this robot came to life. So whenever he wants Teoh watch TV in the living room, he may be just makes him walk to the living room. And whenever the night comes and he goes to bed, he makes the TV go to his bedroom so he can watch his TV shows before he goes to sleep. Maybe he dropped the TV couple of state of times while assembling it, so it has crack. But he has no money to buy a nici and these ones too old to find a new screen. So he will just take to that until hey finds him. No one in the dump or not a new one, but one that has the same screen. And he can put them the new screen on right, So that's not a great story. But it's something, and I'm making the same stuff that I didn't hear. So let's try to change it a bit, so it's not a great story, but it's something that can add up. Like maybe he's okay there. You going missing this right arm? Maybe doesn't even need arms, right? But it looks called, so I'll keep the arms, so I'll trade you. Figure another way of doing this arm, maybe something like that. There you go. I like the any of the other robot we did that had tiny hands. So gotta keep them in here. Not this one. I think that. And let's see what we can go for this. It's I'm really liking this one. So let's try to merge What I like of them or both of them into one. So gonna keep the crack. I'm gonna keep this part. I don't like the arm. I like the little hands. Yeah, get rid of this. One. Should miss. I'll just make this one's a little bit smaller school of this. Or maybe just trying here. So what I'm trying to show is you can go back and forth as much. You like this process. It's supposed to be that way. It's very hard to come. A booth thinks just like that from nowhere. Anyway, this is just one way of doing it. If you have another technique that works best for you, feel free to use whatever you feel comfortable with. So let's make he sends a little bit smaller hopes. There you go. Okay. Like this. Let's make it slimmer. What were thinner, I should say, There you go. And maybe these. I mean, they're not ice, but it could help give it some kind of expression. So it's an old TV, and he's tired. So maybe like that, I can I really like this part. So that's just grab it and duplicate that part. I'm gonna get rid of this one race. The 1st 1 we did put in there the new one Merge tryto redesign this part. So this is part of the whole process going back and forth. Like I said, trying to make every part look better. So it's flat on the top. Let's make this. They have been smaller. There you go. Something like that. Looking great. Um, there you go. It makes kind of joined for the legs. I think something that attaching them to the body. Okay. So that that's pretty good. Pretty cartoon. I like it. Gonna merge. Put it first of all, duplicate and put the past in here a little bit bigger than the other ones. So I have or I can see each year. Um, I don't love the feed but they're not super bad. I guess they are. Okay for now, it looks pretty good. Let's be erased. This part on clean a little bit. All of this looks pretty good. Okay, so that should be enough for the Lionard process. Uh, I mean, I want to clean this up a little bit more, but it's not necessary because we're not even gonna use this layer of paint on top of this , so don't worry about it. I won't anymore, So I'll continue the next Listen whenever you're ready with your Leonard. Bye bye. 5. 01 - 04 DesignSketching : welcome to this. Listen, right now we have our Lionard. Um, it's not finished, but it's something. And what I want to do is get the sign right for the feet and the hands and probably back part for all the stuff we note, like 100% Sure right now, we want to get that right came. So let's start with hands. And, um, speed this up. I wanted them to be something like this. Onley two fingers. Where and a thumb. So this stuff is important to and you could do the same process again. Off, um, trying stuff and getting greater fit us many times as you want until you get there to sign , right? I like the 1st 1 better. So I'm gonna kill you. That there it's tryto I feel Can it aside for you just to get on a d off votes made something like, probably has some kind of articulation here and here, like, so let's make a top view for feet. Some not fully convinced yet. Okay, so this leg that looks okay. I mean, you could take this into my own few, figure it out in three D, right? But we gonna be sure about it before going into that, right? So just want, explore all they need more with these idea. This is the shoulder. Okay, so that looks good. What else? Um, when they want something like this for the for this part, right? And that's work a little bit on the bunk apart, which I was thinking about. And it wouldn't make a lot of sense if it was open. So I think I'm gonna keep it closed. Okay, Um, like that for the back part. Just a DS. Oops. Okay, so this could stay like that, but I cannot oneto get one step further with with this guy, so, um, it's right for that. So what we want to do for the next lesson is start blocking out some values in and this drawing and get rid of these line. Okay. I'll catch you there by 6. 01 - 05 PaintingValues : Hello. Welcome to this. Listen. So before it's starting to paint some values, living scaled this guy a little bit just like that. And Okay, so they saw the piece is gonna rename this pieces this hour line, and I already put this and multiply came and I'm gonna bring its opacity down a lot. So the same brush kind of PK doesn't really matter a za long us. It's different for now. That should be good. And that started with all the metal parts. So speak something a little bit more dark. Let's do another layer. Of course. There you go. Try to be more careful now, - so I'm just blocking this'll Great value, all the parts made of home metal. And it doesn't really matter if I don't change the hands in here because I have the these ones in here, like better and that. So once I'm gonna be following Tom whenever I'm modeling. So we just drink this to make it a little bit more presentable. Make it make it look better, just in case it's made it. So there you go. And the beauty of this we contest rename medal is we have control over that with this slider. Right? So it's making a layer for the screen. Got a painting Another three e Get this rider. Maybe are not. If it's turned off, make another one body. It's just pick another kind of great. I'm just gonna, uh, go ahead and put this below the screen, then will you fight? I don't have to be. Yes. Careful. - Strike change that. It's make. And no one so higher. Something like that. Um, So, um, handles This should be named joints. And I'm gonna bring all of these hearts, um, something like that. Just to give you a little bit of variations. Always. Nice. Hopes I missed this. So I'm not trying to be super careful. Put everything we need in here. Cable. This one's put it on your body. Maybe, uh, it's not plugged in right now. And this almost done. I mean, we could spend, um 20 hours. You ever wanted just to make this look super good? Fully rendered. But that's not the the goal of the course. The goal is to make a acid ready for animations. So this is almost ready for us to be, um, capable of understanding how the acid peace and be able to model that in our three D programs. So I'm gonna make a couple of extra layers on. And there you go. Maybe give it some extra values I'm gonna to color for this guy right now, maybe, um, later, for textures, we could make some, uh, like some testing before going into text during the model. But for now, we're totally fine with this. Okay, Go looks pretty cool. I like it a lot. What? I don't like ISS this hard. Being so dark, we can bring the line a little bit. Now, let's keep low like that, and it's gonna go ahead and not the pieces, but all of this group and they made raw but create a new Grady int from, uh, black to white and just it's created in your layer dio ingredient that only effects these group with salt and in between both of the layers. Whenever that I can comes up, just click it that we these will just effect the the group or layer below. And let's put this in multi play lips. It sold to do a curves for this guy and you noticed thes one waas already linked to the one below one night created the curves it did also for that one. So let's bring this up a little bit. Move this down. Maybe scale it something like that and bring Thea Pass it down. There have been. I think so. And there you go. This there's our sheet too, or for our modelling process, we might want to Could read off all of this. Let's say this as a kizzie, um you know, pre production folder. So Clinton design. And then I'm getting rid of the references and the all this stuff and cropping the image like this and that's safe. A PNG, um concept. All right, Robert. And that's it. So I'll see in the next section start planning. How will weigh will be modern, this guy out. But by 7. 02 - 01 WelcomeToSection2 : Hello. Welcome to the section of the first lesson. So I want to go through the basics off my just because there's some people are They may be some students who are that's not a sex periods as fathers. So I want to make sure that everyone's understanding the tools we're gonna be using and the program the interface. So I'm gonna take this whole section to explain our, um, our main interface and maybe some of the important tools. And if you're a into intermediate or an experienced my A user, I feel for you feel free to keep this lessons or this whole section because, as I said, this is for the new guys, um, to get to know the program. Okay, so let's get started. 8. 02 - 02 Interface : hope and welcome to business. What we're gonna do this? Listen, is check out the Maya interface, and I want to show you where are some of the main tools we're gonna be using located so that you get a little bit more familiar with the subject. Okay, So open my, um and this won't be probably what you'll see. Thank right of the out of bucks. So I wanted to just go here and in this workspace tab, choose these modeling standard. This is the one that we're gonna be using for this curse. I would love to go over all this, but we don't have time discourse for that. So let's, uh but starting the year, it's a good starting point, So just click that and you should see something like I have write down. Um okay. So what you have in this part, this is called, uh, the and you can actually see it here of you hit space. You're gonna see the hot bucks come up. And to the right part of the heart books, you can hold you left, click, and you'll see all these names. So for two bucks, which is this one, I can activate or deactivate just by doing this. So I'm holding space and between these line and there's one on the right side of the heart bucks. Soon, anywhere I hold my left click, it should work, except for this office, because things are other menace. So that's my toolbox. This one here is called my shelf, which has a lot of tools. Um, you can also bring, uh, and it'll you want to your shelf or even do a custom shelf so that you have all your chills organized. As you wish. There's a lot of taps in year that's curves, polygons culture in breaking animation, etcetera. We're gonna be using polygons for now. So, um, let's leave it there. Then you have, um, all these men ius, which you can change by, um, changing the things tab and this curse we're gonna be working with modeling mostly. Maybe some of rendering, but mostly modeling. So I want you to notice that after windows, whenever I change this to whatever it iss, it changed the whole hold menu. So if I goto animation now, have key playback, visualize, deform and those others If I go to modeling, we have mash it and mash Meshal's etcetera. OK, so make sure you're on modeling now. At my right side, we have our modern took it. If you don't see that, you can China done in here if you don't know what something does, just, um, chicken here on the bottom, left part of the off the screen. Whenever I over my mouse, I can see the it displacing here. Why the tool dust, or what? What its name is so show or hide the modern tool kit. There you go show or hide the character controls to. That's I think I don't want right now attribute editor. So that's a good thing to having their tool settings That's also really helpful. And the Channel box Layer editor. That's pretty important. So in this default modeling standard workspace Channel Box is not in here. So I'm gonna grab the channel books and snap it in year with old. These others, and I think that's, uh, it's pretty clean. Start working with, um, there's a lot of buttons and many us, I know, but let's try Teoh get the basic ones and little Belle Ile. We will start using more and more tools and many years and you'll be getting to know the program, Morris, as we go through the course. So right now, just stick to this. We're gonna be using a lot. The shelf Martin took it attributes it your channel box. And the tool sittings this one? Not as much because we have shortcuts. Ah, which I'm gonna tell you in the next lessons body. So it's always nice to have it in here. OK, so that's about it for the interface. One more thing I want to cover in this lesson is the views. So I don't want to go two basic right now because there's a lot of tutorial free tutorials on YouTube or even the Autodesk documentation. But really quick. Just if there's someone who doesn't know how to move the current mayor, you hope out. And with my left click, I can rotate. Okay, I'm still holding out and we left Click now with the all hold in my meal quick, Also holding. I can pan my camera and with my right click also holding out to the sites they consume out and some in. Okay, So this is my three d camera against eating here it's perspective. Camera. You can see the axis. Why is up? X is to the site and see which is the blue one is front. So if I hit space just once these four abuse come come up and I can see I still have my perspective viewing here, which is my three D view. But also I have three photographic views and I can see their names in here. This one's for the top view. So you can see whatever your modeling in here, you will all see it in here. But from a top, uh, camera, this one's for a front camera and these ones from the side camera. Okay, so I got into these by hitting space. I can maximize the the size off any of these cameras just by hitting space again. And just by hovering the mouse in the camera, I want to maximize. So let's say we want to bring this up, um, and maximize the perspective. You I put my my cursor in here and just hit space before it works for for each camera. So that's it for this video. Um, try to get used to the interface, maybe click some stuff see what it does. It doesn't matter. You not gonna break anything, so don't be afraid. I know there's a lot off many years in tools and stuff, you know, But just don't be afraid off creaking if you don't know one what something does really down here and look it up the Internet or the documentation that's really helpful there. So let off forums and official documentation and videos and tutorials. Or you could also send a message. And I'll be glad to help whenever you you need. Okay, so I'll catching the next lesson. But by 9. 02 - 03 PrimitivesAndTransformTools : Hello. Welcome to this. Listen. So we're already familiar with the basic interface off my So the next thing we wanna do is create some primitives. Okay, so that would be all of this. I don't like using the shelf that much. So you might be seeing me going into these men, create polygram primitives and choosing whatever we want to create. Or sometimes I may use the shelf. You could use whatever you want. It's the same thing. Eso the one that makes you comfortable. It's OK. Ok, so let's create a sphere and I'm gonna hit all and right click so I can get closer. It's space to maximize my view. And there it is. This'll primitive. So now what? I want to move it. Okay, so we have our tool books, right? So let's see what all of these tools do. Uh, starting from here. Or maybe this one which is obviously the cursor. So that's gonna be select mode, and you can see it in here. It's my select till it's gonna be used to sell stuff. The next one's told lasso tool. It's also used to select things the next one's called pain selection tool is one more weight. Select things inside Maya, and the ones we're interested in right now are the zones. So move to which can be accessed with e w key will bring up these arrows and we can click and dry he'd see to undo So we can click and drag to move. You can click and drag on the I rose, or we could do it on these little squares. And what they will do is, uh, cancel 11 access. Okay, So the red one, which is this one, is X and you conceding here the one is Z and the way is the green one. Okay, so if I used the Red Square, I will be moving all of my access except for the red one. Okay. Does that make sense? So that would be moving Z. And why at the same time, right? So that's straight. Okay, that's awesome. I don't have to move twice if I want to make a move like this, right? And it's not moving on there on the red one, which is X. Okay. So I could also do it in this one, and it will cancel out the green one you see what's going on? So this all this quest are very help helpful most of the time, so you'll see me using them a lot. Next is my rotate to Well, obviously we have these center square, which we can click and moving all access. I don't recommend it. I almost never use it. I wanna have always full control of what I'm doing. So China, is it now for the rotate tool? The same. We have colors which represent the axis on which the, uh, object this rotating. So we have X, why and see. And these one rotates the object based on the camera. So I don't recommend that either. If you want to rotate 90 degrees in these access, you can do it like this. There's waste to be more precise than that. And we we will get to that soon enough. So don't worry right now, okay? And there's one which is the scale to which that's me. Um, kill my It's OK, so those are my three basic tools. So I'll be using to move stuff inside my up. Let me just do it. This sphere and that's created Cube and I can tuggle these a lot of these tools with my cute w key on part of the keyboard in that order. So that's pretty handy queue for selection W for translation he for rotation and are for scale. Okay, so getting used to this is very, very head helpful. And it'll speed, uh, mother process a lot. Okay, So know that we have the knowledge of how to create and position and maybe edit a bit some off our primitives. You could maybe do some basic stuff, like maybe ice cream. So let me create this cone. This It's fear and places like that. And you may have noticed I was using my shortcuts on the key word. And and all this is pretty basic, but try to do it yourself tryto get used to moving stuff, creating objects and repositioning them, um to create. Yeah, he thinks so. In the next lesson, we'll learn how to edit these primitives to make more complex shapes. OK, catch you there, but my 10. 02 - 04 Components: hello and welcome to this lesson. So we now know, uh, what are primitives in? What? What are they used for? So having a bunch basic shapes may not be assed useful. And we might I want to create more complex things than these primitives, right? Yes, there. Pretty basic. I know there's a lot of them, but they're still pretty basic. So it's just get you know, that they exist. But for now, we're going to stick to ah, acute just to get to know thes concepts. Right? So with my mouse over my cube or my geometry, I'm gonna hold my right click. It doesn't matter. You find on any of thes tools gonna hold me right click and this hot books will come up and there's ah, a few I went on, I put more attention are right now at least one of them subject mode with means, Which means I can select my whole object by clicking or doing a selection. Screw. And whenever the green outline is on, that means it is selected in object mode, okay? And that will allow me to move the whole object. Okay, Now we have edge verdicts and face which, um, may sound familiar to you if I go to face and I'm now able to select any of these faces didn't move it, um, without affecting anything else, right? I might come to edge select an edge, and it only that one, right? So we could have very complex shapes made out of Onley moving these components. Or we could even go into verdicts mode and move each one of these points. It's very she's to create even more complex shapes, out off boxes and planes, or maybe spheres or whatever you want to use. Right? So this is various full. We're gonna be using it the whole curse and probably your whole career s a three D model. Er, you will be using, uh, this concepts each time, all the time. So good used to them. Play with them a little bit. See what shapes you can create out of, um, this primitives we have in the year. Check them out, see what you can dio. Um, let's try double clicking in edge mode and see that selecting the whole ring right, because they're connected. Spring down. That's scale. Go back to object mode. Smooth. This a little bit to the side. That's starting to look interesting. OK, so play with this. See what? You can come up and just get to know the tool better before continuing to the next lesson. Okay, Whenever you're done, I'll see you there. No, by 11. 02 - 05 Inputs : Hello and welcome to this. Listen, so right now, um, what I want to check out is what is happening. The child bucks whenever I create or select any object, right? Because if I have nothing so that there's nothing in you. But if I said like this new cube, I have all these box is in here and in here. And let's see, what are they for? So these ones seem pretty obvious, right? Those are our transformations. Translation, rotation scale and my visibility. So if I move this in the X axis, I can see it updating in here. If I move that from the center, I will see the cube moving. You know, the three axis. If I rotate the object, I can see how it's being affected. Just click on a blank area of the this rotate to I can rotate in all three access. I don't recommend this, but just to let you know it, it exists. So there's that and from a skill, it's Trey. Something like that. Okay, but what I'm really interested about right now is not this part, because we'll get to this. But at the very bottom, there's this thing that says inputs. And basically everything I did to this cube is gonna be listed in here. Okay? Right now, it just created it. So it on Lee has wanting, but which is named Pollock. You won. And if I click on it, I have access toe, um, the creation polemic parameters. This cube perhaps has right. So if I go into subdivisions with input five, I will have no five divisions right under with If I put five in here now, it has five divisions in the height and for the death five. And now I have a cube, uh, subdivided. And with that, your lips all around the cube, right? Figured verdicts. Obviously I can start editing all of these new verdicts. Right? So this is pretty interesting. I could do with some patients and moving all of this very complex stuff, right? And that's basically what modeling is moving. Very. DC's getting the shapes. We want out off basic, um, shapes or forms. Right? So let's do it. This that spring, let's say, a sphere click on the input and for this wonder, have radius, which could be it's amount a little bit. It could be higher or lower. Let's keep it a three at my subdivisions can be taking down a little bit. That's just something like that, right? And we're already editing thes main Are this primitive shapes into something more that say something better for us to start working, right. So if we grab all three of this, put my cursor in my three of you hold my middle button on the mouse and drag, I can control them all the ones I can do this with just one parameter or all the things. As long as they are selected. Not in the box hopes, maybe also in the books. But I'm used to do it on the this part of their the name of the attributes. So let's drink this to for Andi. Submissions to three, maybe. And there you go. We're already editing are primitive shapes. Um, and this already for us to start working, right? And we can start moving this round, creating some crazy new shapes that doesn't look like a cube at all. If I took the time to do that to do that right. And right now I'm only working with my three. Beautiful. If I had space I can see my other views. Remember, this is a tough one, so I can select some of these very disease. And I might be only able to see a few of them from this camera. But if I select all of them, the program will automatically select the ones behind. And we can see that in here. Right? And we can edit in one view and see that affect the other ones. So that's pretty cool and pretty useful for modeling. We can see how it is looking from all of the views and while having control, Uh, only 11 Right. So, yeah, that's inputs. And the channel box will be using this a lot, so get used to it. Um, try Teoh, get to know all of these sluts. Don't worry a lot about this one's. Actually. Don't worry at all about this one's right. Now. Just get to know the inputs and how each primitive has different slots in the in its own input. Right? Thes cone has a lot more sluts. Then the Cube had I mean this fear, right? You only has four while this has a little more. That's like seven and 367 So get to know the in principle, the primitives and what I see what you can do with them. And after that, go into the next listen to see, check out a couple off tools that will be very useful for our navigation. My okay, See there. But by 12. 02 - 06 CommonToolsAndMenus: Welcome to this. Listen, So this is gonna be pretty quick. I just wanna show you couple of Mitchell's. We don't know yet, but they're pretty useful most of the time. So right now, if I picked this, uh, sphere and I want to sue met it, I Let's say we're really far away, and we have, by the way, I am duplicating with control. D all my selected stuff. So let's say we want to seem to this little guy in here, but well, like all the win here, and we don't want to start assuming been panning, been summing again and rotating just to take a look. Look at this piece. Right? So what we can do is just hit if which will focus the selected object, right, we can select more than one object. Maybe. So, like, all of them hit f on the keyboard and the camera will automatically focus all of the slick deductions. Okay, so that's pretty useful when, um, other links getting really complex and and has a lot of faces, so that's pretty useful. Okay, now, if I hate a on my keyboard, that will show me all off the stuff I have visible on my scene, right? So if I go in here and he f check this piece out, maybe do some work down, I'm gonna go back and take a look at my, um my whole model. I can just see a and take a look at all of the things that happened. My seat. OK, so let me do this once. That's one thing. Another thing I wanna I wanted to check out is this Modify menu. By the way, in all the menus, we have this little bar at the top, which we can click and it will snap off. It's pretty useful. Whenever you're gonna be using a many a lot, you can have it just in here all the time until you're done with it. Just close it and it's just get to know, OK, so I'm gonna put this in here, and that's the one to rotate. Let's start with this one one to rotate this cone, but not from this point. Right? That's the pivot of the Let's go to the front view. And this is my pivot. It's right there. So whenever I wrote take two piece, it's gonna wrote it from the paper, right? So in order to move my people, I must hit D on my keyboard. That's gonna bring these arrows that look a lot like the translate tool. But it's not what this hours will. Julie's let me move my pivot. So that say, I needed in here. I'm gonna hit d again to go out of the people to and now I can rotate from that part. I took this pretty useful. Sometimes you can also ah, get your pivots moved without noticing. Or if you're not careful, um, they will end up just placing places you don't need them to be at. So here and modify. We have this, uh, tool, which is called centered people that will bring my pivot into the center of the mess off my object. Right. So if I click center pivot boom, it's reset. OK, so that's pretty useful. And one listing thing I want to cover in this video is Ah, there's one Freese transformations, and what it does is basically, let's move this cone other bit and we can see it has been transformed. If I hit zero, this translates, it will go back to the to the serious future of the scene, right? Because that's zero Next, your own white and so on to see that spring this in here rotated a bit. Another disco different. Let's try. Do Freese transforms, and you can see what it did. It made all of my transforms zero X except for my skills, which have to be one. Because if they were Ciro, these wouldn't exist, right? So that's what this does. It makes the place. And or maybe the transforms the object has are now the, um, that it's zero. OK, it's, uh, origin. That's that's what I was looking for. So if I now move this into another place and bring this back to zero will go back to this point where it's transforms were frozen, right, because that's its new origin. Okay, it's pretty useful. Um, well, we could be using this tools more in the future, but I wanted Teoh get to know them as soon as possible. And also another Good, uh, that's thinks another good thing about my eyes. All the tools can be, uh, edit it right, So they have their own options. Whenever you see this kind of square, you can click it, and you'll be able to select from a number of options, depending on the tool. So this Freese transforms tool has this'll little ticks. And what they basically do is ask us, Do you want to freeze translates, rotates and scales or only ah, all the translates, right? So let's try to scale. And now we have scaled the object rotated and moved. But if we only have this turned on and never hit, apply all the translates are going to go to zero right? I want to give them on right now. I could do that or go to edit recent settings. In some cases, the tool options are gonna be way more complicated than this. So if you don't know what's happening or a tool, it's not working like it should just go edit recent settings, and most of the time that'll fix a problem. Okay, so remember, whenever you see one of these little scripts, that means you can go into the tool and have options edited before using the to right. Remember to go back to your selection toe after using whatever I told you used that way, you won't have any errors or random stuff that you don't want to be appearing. So always hit cute after using one of these tools and one last thing, remember? Ah, here on the bottom. We have free strands from which we'll do the stuff it's intended to do and close this window apply will do his thing. And don't close this window just in case you want to use it again. Or close, which won't do nothing but close the window. Right. So Kristen's forms that should close the window or just apply. I can hit this many times. Or just because Okay, so I think that's it for this. Listen, and I'll see you in the next time. Okay. Bye bye. 13. 02 - 07 Outliner : Oh, and welcome to this. Listen, So just to wrap up this section, I want to talk about one more window inside my and I'm gonna go hit my window menu and right, right, here it is. Out. Liner hopes it went on to the other monitor. So here this. So this is one way of bringing the outline er up. Or you could just he's going here, which will give us to pain layout, which can be modified if we're going to panels. I know. And then look for what we want, which in this case, is the outline, er and now we have in you. Okay, so these are the four comes have That's my three d view. My job, my friend on my side. And these are the defaults. It's my creates in each scene, so I will leave those as they are. Let's see what happens in there. When I went a very create, that's a cute. So there's the Cube, and you can see we have in here now, so these will basically show us everything on the scene in the least. Okay, It's pretty handy because we have something sometimes maybe something hidden like this. But in here we can see the cute There's a cube. We might not see it in the three D view, but there it is. And I conceded there. Right, So these will help us maintain a clean scene. And we'll also let us rename stuff which can also be done from the channel books in here. But it's pretty handed to keep track of what we have on our seen on, Um, just rename things and be a little bit more organized. Okay, so I think that's all for this whole section in the next section we're going to review ah, lot of tools we're gonna be using for the modelling process before starting the actual road . But, um, remember, if you were having trouble with anything, send me a message or look it up on the Internet, read the documentation that's always helpful and just keep keep learning. Okay, I'll see you in the next section, but by guys 14. 03 - 01 MenuMesh : Hello and welcome to this. Listen, all right. Now what I want to do is check the tools out of these mesh menu that we're gonna be using for our modeling our modeling face. Right. So I want to go over a few. Not all of them. Just some of the ones we're gonna be using just to get used to those tools before getting to know all of these. Okay, so this is a mess many remember to be. You need to be in the modeling tab to be able to see it. And the first tool I want to get you to know. Always combine. Okay. So what this does is basically that's put this in here. That's hit f to focus The cube. I'm gonna duplicate make you with control D. And right now, these are two separate objects, right? You can see it in here in the headliner fate. Grab both of them and he'd combined. They now become a single cute right now. What is this thing? Ah, that steel moves the cubes independently. Well, that's the history of the off each one of those. Those are the past transform notes they had. So you can go to the channel bucks and actually see in the in pits. Uh, these new, um, two we used is listed in here. And now they are a single mission. And to get great off this, which we don't need anymore because we want this to be only one piece we can go to edit Will it be type history? And what Dad will do is remove any unused notes. Ah, from the scene or, um, past inputs we don't need anymore. And as you can see, we don't have an inputs anymore. On the as we did, it's to pick it this on as we did a new operation again, right? So there's my pull unite again. And now all of these are a single mission, right? So if I would want to get rid of the input in here, I'll have to do is go edit to it. Batak history. Okay, so that's pretty simple right now. What if I want to separate all these? Well, it's a C c. As clicking this separate bottom, and now all of this are independent pieces again. Um, there's being a few changes because now all of this share or not sure they all have the pivot where it was when they were combined. Right? So if I wanted to get each of these cubes pivots into their own center, what I would need to do is so, like the cube go to modify on center pivot. And there you go. Now, if I wanted to do the same with this one, I could do the same modify center, pivot or Hagee on my keyboard to repeat last tool used. So that's try that, G. And there the pivot goes to the center g again and g, of course, this it's not gonna do anything because this was the 1st 1 we did. And the Pivot states stays right there. Right? So we have this independent pieces, and inside this group Maya created for me, we have the four, uh, objects. Okay, so that's for combining separate. Now I want out. This'll we don't need any more. Now I'm gonna go into face mode and two faces or that started one face. And whenever we get something like this in order to close it, we have this tool called feel whole. So what we need to do is select all the edges and just click feel whole. Okay, I was holding shift to add to the selection. So shift clicking each one of those edges, or you could just double click one inch and it we'll select all the edge loop. OK, so that's double click feel whole. And there you go. Okay. Now, um, the last thing I want to cover in these videos. All right. Well, that they can actually be two things. So for its first let's see what happens if I click three or a tab My three on my keyboard While selecting an object, you can see it becomes a sphere. Right? But it's going on. It's trying, subdivide. Well, it's not trying it subdividing the mesh so that, uh, it has more resolution. Okay, if the source is moving and making an average off points and making Theis round shape, that would be true for any shape you would like to subdivide. Okay, so let's try to go. Let's close this for a bit to the input of this sphere and bring this down to eight. You can see this is pretty low, poorly, but the moment I subdivide this fear, it looks, uh, super smooth. Right? So what? What this is basically doing is smoothing t object, but not adding all the topology. Okay, so if I go to mesh and smooth, I see we're having kind of the same results. Not the same, but similar. The difference is I have the new topology in this one, and not in this one. Okay. If I went and clicked again the smooth tool, I would get something even smoother. Okay, but just keep in mind, it's, uh, adding geometry. Cheer to your object. So that's it for this video on the next one. We're going to review the tools under edit mash we're gonna be using for the modeling face . So I'll see there, but by 15. 03 - 02 MenuEditMesh : Hello. Welcome to this. Listen, So for this, listen, why Don't wanna check is all the it admits menu. Okay, so kind of bring it in here and let's see the first to I wanna I wanna check out which is bevel and what it does is add if it divisions to my selected components. So I'm going to, like all the edges of a cube into bevel. And as you can see, it's doing a pretty weird stuff. But we have this little like a tribute, um, Editor in here, and we can control homing segments. The depth, the distance between each other. Um, let's go with two, maybe for distance, Something like that. Let's turn off the champ for and see what it does. So it basically doesn't ground or avoids the rounding off the of these new pledges to say And by going to object mode, I can get out of that tool. Having all those new blips near the ones I already had will make Thea object look round and nice whenever I subdivided with three on my keyboard as we saw in the last video. So this is too. We will be using ah lot during the Chris. OK, so the next one I wanted to count is the bridge, which basically needs you to have and a mesh which needs to be close to like this. So I'm going to select this edge the whole look with shift select the other one hit bridge , and it closes bitching both select sites. Now, I see these box again, and I can add divisions. Um, to some that subdivisions on do some twisting, um, type curve. Okay. See if I hit three on my keyboard. It it's This is almost a cylinder. So that's not what I want. I'm gonna select this thing. This this edge is one and all of this hitting shift in control. I can select all of this, all of this. So I don't want this a to middle and hit bevel turned jumper off. Bring the fraction down to something like 2.2. Um, let's go for two segments and he three on my keyboard. And there you go. That looks much, much better. Okay, now detach. What that's used for is separating components out of the object. So if that's a would need to get this face to, um just separated out of the subject. I'm gonna hit uh, the touch. And now I have, uh what did I do? Wrong touch. There it is. It's the same object. So if but it's separate. So if we wanted to have this actually be to optics, we would need to go mash separate. Now what if I send a pivot and there you go. Okay. Now let's see what the X treats for basically what it what it does is extrude components. I'm going to select this face extrude and just bring this up extrude because you can notice the blue Arrow is the one that's facing the normal off this face. So that's almost always the direction you want. You wanted did extrude It's do extruding all our faces and let's see what this does. I'm gonna bring this up and what it's doing is a cube outside off this Cuban that's not actually what I want. So let me hit control C He'd extrude again and turned this game face together. Turn it off. And now if I click these, um, he'll squares I can actually scale that. And what the kids faces to get there did is make this able to scale in their own center instead of acting. Asshole object. So that's pretty useful. I can hit extrude again. Bring this. Ah, little in. Okay, So extracts freed. Important. Now the next one's merge and what it does is basically marriage to very deceased. So I can select both of this and merge them. Okay? And Mitch Okay. Now, for the next to we wanna see what to the edge Verdicts. Dust year. Let's say we did a bevel, but for some reason, we don't want all this edge loop. So if I go ahead and hit backspace, it looks like it has disappeared. But if I go into verdicts mode, I can see the verdicts are still there. And I can go select all of this and hit backspace again and get rid of those. But And this your way to do that is used this tool, which basically deal. It's the loop and the verdicts associated with it. So let's check that out and they That's much cleaner. Okay, Now, uh, that say we needed to duplicate all of this faces. What I'm gonna do, select all of them with control, De select the central one and going to duplicate bring this up and that basically made a duplicate, uh, off the components elected and made it into another object. Okay. And the last one, uh, extract, which basically does what detach and Mitch separate do, but with just one button. So they both have their own purposes. So that's what extract dust. Okay, so that's all of the tools. We'll be covering this video from this edit mesh menu. I'll see you in the next lesson for the last menu, which is the mesh tools. Okay, so catch their practice, your tools get to know them, and I'll see you soon. Bye bye. 16. 03 - 03 MeshTools : hello and welcome to business. So let's bring the message tools menu up and we'll start with this Thea Penta pollen to Let's create a Cube again. If focus, let's do it face. And with this a pen tip, like until does is close gaps or holds. So I'm going to click it and it says, Click a boundary edge, then click the place for the nobody sees. I'm gonna click this one and you see this arrows come up, which are pointing at a direction. So I'm gonna click these one next and that you go. That's just hit, enter to accept And that's OK now this is a pretty big 12 incidental tool it. I use it a lot. So what? But this DOS is It makes me, uh, the ability to place Neil Loops whatever I want them to be. If I go to my tool settings, I can choose this option multiple. It slips. Let's say, 10. I can put 10 new loops. It won't. I won't let me move them, and they're all the same distance. So this could be pretty helpful to reset the chill. Just hit this this button and you can you said it's normal. Okay, so it's cleaning Cube and e said a couple of loops. So this could be another way of doing the Are preparing the model for subdivision. Just dissuaded with bevel. So whenever I hit three There you go. It's subdivided. It looks pretty nice right now. Let's say, um, because the roundness or sharpness of these urges depends on how close these tulips are from the centre one. Okay, so So if I bring this back a little bit, you can see these border is much smoother than this one, which is sharper. Let's try to exaggerate that a little bit more. You see that? It is subdivided right now and you can see here in the poly count go up. By the way, you may not have this by default, so just got to display. That would be, um give me a second. Um, yeah. Oh, my God. Heads up, display. And here it is, poly count. Okay, so I have it always turned on because it's very helpful to know how many faces how maney triangles vertes I have these one is the whole scene, and this next one is just for the selection, as you can see, if I had more. Please don't only go some whenever I select the other keeps. Okay, So going back to the tool or subdivision, I think I was explaining to you the closer These are the sharper. It'll be the edges when subdivided. Right? Right. Now, it's pretty easy to do that, because this is a cube, and I can just to this in one access, right. But what if I had this like that? Now, I cannot do this anymore, because that would mess the shape off my object. So for that, we have, um, this tool, slight edge gonna click it, and with my meal mouse button gonna drag it will slide until, um, it can no longer move. OK? And you can see how these borders are much smoother than these ones. Right? Okay, so that's all of the tools or most of them we're gonna be using for the robot modeling. So get used to them, click them a few times, tried to replicating the things I did in these videos. It's another 100% necessary cause we're gonna go slowly through each one again when actually using them to model the Robert, but it would be a great start for you if you already had the knowledge of, uh, what they do and where they are located. Right, That'll speed up your process. Okay, so that's gonna be it for these video. And I'll see you in the next lessons where we will be starting to model the robot. That's exciting, right? So I'll catch you there, guys, but by 17. 04 - 01 ProxyModeling: hope and welcome to this lesson. So what we're gonna do right now is model proxy for the for the whole character. That way, um, we will have the proportions. Proportions. Sorry. Right before we start modeling the actual pieces of of these robots. Okay, So what I want to do first is going to my front view, and in my view menu could very much plain and important image. So let me bring this up. Okay? So in my pre production folder, I have my, um, concept art image, and that's the one I'm gonna open. And there it is. That's my image plane. I'm gonna go to my attribute 80 cherry with the image selected and bring bring my Alfa gain down a little bit that way. Um, he has a little bit of transparency. Gonna put the image in the middle, more or less. That's good enough. And I'll push it backwards so it doesn't get in the way off the actual modeling. Okay, so I'll go ahead and create a cube. And remember, this is just a proxy, so it doesn't have to be perfect. The thing we're trying to do in here is just captured the proportion proportions and the size of things. So I'm gonna, um It's that channel box turned this on the x ray. Okay. And I know I know this is not a front view, the concept art, but, um, it's pretty close to, so it doesn't really matter. That should be enough. That should get out. How big it is. Okay, gonna, um, guests on the thickness. So something like that I have, by the way, my concept art in here and my other monitor. So that's pretty useful to have it all the time going back to it and looking at the shapes . I'm going extrude. Oh, by the way, Um, the way I brought that many up instead of going into I think it's Yeah, it'd mashed extra. I did shift right click. And I got this hot box. I'm not. I'm holding the shift on the right click in that order, and I have my multi guard bevel extrude My face normals and mirror extract duplicate a lot of my, um of the tools will be using on these many years, so it's you'll be seeing me use it a lot. So I have a Rick. Um to use it. Okay, so she drugged red click extrude. I'm gonna scale this a little bit and g to extrude again and bring this back and scale a little bit. Okay, there you go. Something like that. So, like my edges and it looks good, It's like this face extrude scale bid. Jeez, to street again. And for this lag. So So that's enough for my proxy. Um, like the level of complexity off this part. So try to get the shapes. Right. So that's good. I'm gonna bring a new bucks or cube. That's make it much. Okay, that's crab. The lower face. Bring that up until there. There you go. This okay? Just looking good. There you go. That's good enough. Yep. Let's grab this face extrude, scale it a little bit and scale it backwards again. This doesn't have to be perfect. I'm gonna create a cylinder and rotated 90 degrees in the x axis, scale it a little bit something like that duplicate, and bring it to instead of minus 3.88. Gonna get rid of that minus, and that should mirror in the X axis, which is the red one. And that's looking pretty good. Let's now, uh, do another cylinder rotate this time on the C axis. I'm gonna scale it with control in the other to access and place it in there. It's like this verdicts. Bring that down little bit. Okay, That's good. Um, now what? I want to do this. Ah, mirror that piece. So what I'm gonna do is this has already some transformations. So what I'll do is hit control G to group and that group, As you can see in here in my AL cleaner, um, has everything in Syria on my scales on one and the pivot on the origin. So if I do miners one in the X scale, that'll mirror I should to implicated before mirroring. There you go. Okay. No, I don't know. This could That's this'll could maybe be a little bit bigger. There you go. Now it difficult. The group minus one on the X scale and that's it. The top part. I can grab this cylinder duplicate hitting control D, rotated back to zero and place it riding there. That's at a new in object mode at a new edge loop with shift right click inserted slip. It's shift right click, soft edge, soft in or you could live with us. It is it doesn't really matter just to get rid of. They said she could select on Lee the edge. Right shift, red clicks, Upton inch. That's often. There you go. And, yeah, it's looking good. I'm gonna do the on these parts of the antenna until later. So that's good enough. It's create another cinder control and scale and the other to access. I think that's way too much. Something like that. I guess that's do the whole, um, arm in one piece. And for the hands I'll do a cube. Scale it like so duplicate the cube and rotated. I'm gonna move the pivot before rotating. I'm gonna hit the move the pivot d again, Get out of pivot mode and rotate a little bit. Go to my side view on a line. This hand. Okay, so it's looking pretty good. Shift right click to insert an edge loop in here. Bring this back to make the or create the elbow. Um, spring both of this. I'll be out. Um, also this too. And this to There you go. So this is only a proxy These are the basic shapes off the rob. I I'm gonna use these for the legs, so I'm gonna duplicated, put it in place and rotate 180 degrees. Nothing like that. There you go. It's really important to be looking at the art all the time to get it right. There you go. And now for the, um, feet, let's create another cube. Put it in there. Let's try to not, um, go below the grade. Something like that. Going to duplicate this and scale that's inserted. Mitchell upshift right click. Bring this verdicts up like there you go. There you go. Something like that. Grab all of this. Group them, duplicate him and minor swan in the X. Right. So I think this looks pretty good for a proxy. Um, you know what? Gonna get rid of this just to make this a little bit, um, bigger gonna group this off the pivot in here, and we'll have time. Teoh, get all of this piece is right after we're done with the proxy. Right now. Where it just worrying about the whole I'm sorry. The whole shape of the, um, off the road, but so that I think Looks better. That's like all of this group. And but, um I know Swan in here. Oops. I forgot again. Teoh. Duplicate my nose One. There you go. That looks pretty good for me. Um, yeah. I'm trying to look for any parts that need extra work, but honestly, it looks pretty good. I mean, maybe some details like this could be a little bit bigger, but other than that, maybe this could be, well, bigger this way. Yeah, I think that's it. We're ready to start modeling. Um, there's something I'm not I'm really not liking. And it's probably this being too big. And this are the kind of things we wanna How did put it? Like the things we want to notice before modeling. So that's what this proxy modeling face is for getting everything right. It's Copy that based in here. There you go. I'm gonna turn on my ambient occlusion just so I can see a little bit better where everything's at. Maybe bring this a little bit inner. Also, there's one that's copy that value. Oh, are it's just group and duplicate and miners one. I'm not going about the naming or organization of the scene right now. Um, you'll see why in ah, in a couple of minutes. This is something I wanted. Good. Also, like, let's bring this back a little bit just to make it look a little bit stylised. Not too much. Not, uh, like, super cartoony, but just a little bit. There you go on. And honestly, it is looking pretty good. Uh, I think that's well, we're gonna dio for this video. Um, I'm going to select everything go into mesh, combine. Um, now it is combined. It's one, um, object. Go to edit, do it all by type history and this group. We could get rid of it. It's rename this to, uh, Geo proxy, and I'm gonna put it in a layer named this layer proxy. You can put a color. Um, it honestly doesn't matter on. I'll put it in T. That's transparent. And this is how we're gonna start modeling. This proxy we made will work us a reference off volume. Like a reference in three D. Um, I'll try Teoh, keep these volumes. Obviously, I'm allowed to, um, not forward 100%. Like I still have some, um, room to play with but it is pretty close to the final proportions and volumes and shapes. OK, so in the next lesson, we're going to start modeling the actual pieces, using this proxy as a reference. Okay, I'll see you there, but by 18. 04 - 02 ModelingTheBody: Hello and welcome to this. Listen the best. Listen, um, we modeled the proxy of the of the road, but and right now, we're gonna start working with the, um, with the body. Okay, So first of what I need is I can get rid of this, um, much plane from year. Just do it. Remember, I have the other one in my second monitor. I'm gonna bring this cube up, try to match the saif off this part of box. Gonna bring this down a little bit. Predict all of this ringtone a little further. Okay, I'm gonna grab this face shift. Right Click extrude, scale it down. Maybe even bring it a little back like that. G to extrude again. Let me see G and use this blue arrow. And instead of scaling, I'm going to use the office. It is to get this right. Okay, that looks pretty good. Now for thes front part. Gonna do extrude do this. Offset. That looks almost right. Maybe point a Yeah, I'm happy with that. Let me just turn off my proxy right now. I'm gonna be watching these image for this this screen part just to get it right So I'm gonna extrude again. That goes in with a little offset that's struggling to maybe even more 0.3. Take your time to get this right. Don't rush. Usually when you rush through stuff, it doesn't look as good. So, yeah, that it's probable. Get I'm gonna hit g Took street again. Bring it back like that. Maybe a little offset. 0.5 g took street again. Off said 0.3. Get this loop back G twixt it again points euro, but And there you go. We have these two, um, parts extruded, Just like the concept heart. Okay, so you can see in the concept art we have lets to this lips you can see it has a little curvature round all the bucks. That's the last thing I want to do because it's easier for me to edit this things whenever they are not grounded. And whenever I have them, all right. And I'm sure there are final. Then I can get the curvature on all the object. Okay, so I'm trying to look for anything. I don't like this parts, but I think I'm pretty happy with it. Yeah, I'm gonna live it as it is for now. I'm gonna hit three. And obviously that's not what I want. So I need to insert some loops in here. Well, before that, I almost forget about about the back part. Hum. So that's so like this part extrude there's something like that and put it It's place. There you go extrude again. Bring that in, pull it off. Said five, maybe syrup on, maybe 0.1. There you go. That looks good. That's, uh but I think how do we want to do this part? Because we have all these, like, holds in here, right? I know I didn't follow the shape, but I didn't like it that much. I like this better. Um, let's try to Dio. Or maybe, Yeah, I'll do it in a bid whenever at all the the missing edges. So it's odd Summer just in here. I'm gonna put one in here. True around that one. Another to oops in there. Okay, Another two in here. Another tool like this. Hey, if I hit three, um, still not looking good. And that's because I'm missing the ones in here. So instead of doing this and this, what I'll do is go to my tool settings. Put this in multiple edge loops and to put both of them and then scale them out. Same for this part two of them and scale them out. And I don't want them to be as close as the other ones. Probably. That's too close. Just because I don't want the edges to be that sharp. That looks way better for me. Like this is what I was looking for. Maybe even here we could slide that edge with my middle mouse. Woops! That's it. See? See what? I didn't there. Oh, of course. So before putting those, I'm gonna get rid of that this whole. By selecting this face hitting control and right click, it can grow selection. Good rid of that. Let's grow once more and get rid of that in object mode. Shift right. Click append to polygon. Hit this one. It There's one enter. I'm gonna add that whole after doing thes edge loops. So put to then scale, like so put to and scale. Okay. Ah, let's try Teoh slide instead of scaling this last ones because this being not straight, it's making me not not being able to scale them and have the results of one. So it's that in there. There you go. That looks much better. We're missing a couple of inches in here. That's Ri said, that tool put in here and in there. Ah, I'll bring this one a little bit backwards. There you go. This looking pretty nice. Maybe we could slide this one. Get it a little bit closer. Just a bit. There you go. Insert loop. And another one. There's once I actually want them to be real close, so I'll slide. Um, most of this one. That way we get this super pinched. That's what I'm going for. Whoops. It's sexually important to get the the borders. Right. Um, it's not. Everything is super pinched, right? I depends from what you're looking for. So that's looking pretty good. Ah, Now let's do the whole We hadn't here extrude there's one. Well, I don't know if I should yet I think I don't No, I want Let's keep it like this for a second. I'm gonna create a new bucks, bring my proxy on and start working on the lower part. There you go. Like so That's okay. There you go. Go to the front for you. And I want to have a little space between these two. Just something like that. Um, let's grab this face extrude and offset a little bit. Probably wanted to be as thick as this part. So let's go for 0.7. That's looking good. Extrude again. Get that enduring with a little offset 0.1. Yeah, that's right. Extrude again. Get that offset. And you know what? I'm also gonna leave that for later. The reason why I'm not doing that one and the one in here. Iss, Um, at some point, um, I want to do this, Grab a couple of loops, put them in there so I can get the We're gonna go through this stool later. So So we're going to get the all this curvature, And if I do the whole before doing the all the edge ellipse, that's what happens. Thank heavens, they good. Like, they all go through here. And that's not what I want. I want them to be in struggling, and I'll figure the whole later. Okay, so this is looking pretty good. I'm gonna insert some loops lips. Actually, we kid select all of this. Well, no, No, no. I'm gonna do the lips insert right there. Now, for the one that should be on the other side of this loop. What I'm going to do is so I cannot inserted right there, right? So I'm going to select the face extrude and yes, offset 0.1. And that's maybe too much. 0.75 And that's correct. Now I have the to lips that hold that edge for me. Okay, so there's one and this one. That's good. Two more in here, um, to edge loops in year. Just scale them, like so, two more in here and remember to slight them because we have this the agonal face slide. There you go. It's beautiful. And there you go. Um, I don't know, maybe. Oh, let's put this in three. Yeah, that's looking good. Is way better. Yeah. Um, just one more thing. Put another one on the back. Like so. And there you go. It's looking pretty nice. Bring this. Live it up. Okay. I'm really liking it now. Yeah, I'm liking it a lot. So now, for the, um this circular parts, I'm gonna actually do them in, uh, with cylinder. Let's bring this up in here. What I want to do first is go to my channel box the way I'm switching through daisies with control a channel, books and attribute editor going to my input. And bring this down from 2012. Maybe train is too much. And as a general rule June 1 treat triangles or three sided polygons. You always want four sided polygons. And that's because whenever you insert a looped a loop, you can do it. Um uh, How did put it? Um, the only way it will work is if the ah, like the's faces soulful this ring right this direction. And that's the way the Edgell is gonna take If I put it in here, it knows it has to go in this direction around these shape. But if I put in here, it doesn't even let me because it doesn't know where to go because of the triangles. Okay, So to get these triangles to be quotes, what I'm gonna do, select one Skipped one. Select scape Select Skip, Select, Skip, Select skip and select and get rid of them. And now I have four cited faces. 1234 Okay, 1234 Right now, if I insert an edge living here, it lets me, um And this is the flow this faces are having, right? It's not necessarily what I need right now, but that's the way it should be done. Okay, So going to do the same? Actually, no. For the for this part, which is gonna be the back part. I'm just gonna go ahead and do it those faces. If it's not gonna be seen, there's no point in having them. Okay, so let's scale this. I could select all of this holding shift, but if I hold Tab, I can use my, uh, this little brush and select all of them just by painting them. And let's extrude usually the offset in here and wild you. Right now it's like the edge. Ah, so that these two and scale them in this access that way they are gonna flatten. Okay, So what? Flattened? And this one's There you go. Now it's dude, all of this and all of this. There you go. Now that select both sides. Bring this down and you can see we have this rectangular shape we will need for the handle . Ok? so I'm not liking this topology. I would rather having going like that's tried. I would rather have a like this Go all the way. Excuse my lines. So that's the way I would like to have it instead off. The weird thing it's it is doing right now to achieve that, what I'm going to do is get rid off all of this. Select this too, and this to scale them out just to straighten up that line and using my a Penta polygon in object mode, I'm going to start a pending now to use the tour again. Gonna hit G. And it's going except that last one and bring the tool once again. I could also hit Enter and then g again. But I found where I find hitting G much quicker. And there you go. Entered. That's it. Now, Right now I have 12345 cited faces in here and in here. That's not good. That's called an end gun. And we don't like those for the same reason we don't like trees. Okay, it doesn't let me continue my flow. So let's go to the tool settings for this in one. Put a living there. And now they're quads. Right? That's 12344123 and four. But if I hit three, it looks kind of strange. Hinder. And that's because the very Vergis is are not merged. I have two very season there and two in there. Just one on top of the other. If I do this, I can see. Oh, are you can see what I'm talking about. Right? To fix that. I'm going to select with this little box. Both of them shift right click, merge, very sees and merge. Very sister center. Okay. And I'm gonna hit three and see the difference between this and this. That's did in here and met your center, right? What? What's going on? It's not letting J marriage very treatises. There you go. And that's way better. Okay, so right now, the only thing left to do is grab all of this faces we could do that would shift or tab and paint this election shaved. Right click extrude Bring this up and I'll put a little off Sydney 20. Want Now, that's too much. Way too much 200.5 That looks better. Um, hit three Obviously it doesn't look. All right, so let's add a couple of edges. Lets reset the tool. And maybe for this, because we could use the bevel instead. Let's select all of this and Bevel, I'm gonna use two segments. That way it will put the loop on both sides of the one I had selected champ for off side and one that softening. Maybe the fraction put in point have been to Looks good. Actually, that's way too low 0.3 0.5. That looks better. I don't want it to be super sharp. Maybe just a little more. I do not have access to the little bucks because I got to my selection tool again. So what I get I'm going to do is go to my child box, and in my inputs, I should find that Babel I did. That's the last input I have. And I can still get to edit the parameters even if I get out of the off the tool. Okay, so, fractions. The one gonna bring down 4.4. Let's check it out. Um, no, not yet. Point three. And that looks way better. Okay, let's select all of this loop But before that, I don't want this to be like that straight. So I'm gonna grab those, bring them down a little bit, then grab all of this. Bring them down a little bit, just to have these a little bit stylized. Okay, Insert an edge loop in here. I know it doesn't look like it selected, but it it is because I just inserted it. So whenever you insert a natural, it is selected, even though sometimes it doesn't show it. So you can scale a little bit and that access and a little bit in this one. I should maybe skillet a bit more in here. Okay, so that looks good. I'm just like the edges. Now, those four, remember, I'm double clicking on it, just like the whole loop. Hopes on Lee this to this to these two and all of that loop on the base and hit bevel. Two segments will get rid of these triangles. See, 1234 So two segments is the way to go. 90% time 0.3. It's turned champ for off. See what it's looking like. That actually looks pretty nice. I think I over did this part So, um yeah. There you go. I'm just gonna Giulio, uh, thing in here spurring it out a little bit into a bevel 2.2. Should be good. Jump off. And that way, I have these nice bevel around here. Select all of this. Beverly to 0.2. Uh, no. I'm in two segments and point two in here. Jumper off. There you go. That looks really nice. I honestly might might want to get great off this one. That way I have this, like, diagonal thing I'm really liking about here and select bad one or both of the same time. Bevel two segments point to jumper off. Oh, my. That looks way, way better looking pretty nice. Okay? One less thing we might want to do is just scale this little bit that way. Look a little better. Scale it a little bit more. Maybe even just extrude one more time. Do something like that. Grew up. There's one bevel it 0.2 champion off. There you go. It's looking pretty sweet. Insert a looping here, you Scalea a little bit. That's looking super good. I'm gonna go ahead and put it right in place. That's rotate 90 degrees. Whoops. 19. Before continuing. Let me save because Maya sometimes crashes and we don't want to lose everything we've been doing. So it's getting a second to find. There the folder, remember? Right now I'm using this, uh, production, um, folder we did. I'm going to dio, uh, something that this modeling. And right there, I'm gonna dio robot underscore modeling on the skirt body because we're doing the body. Never mind. Let's be civil one. That's my version. And then we're gonna do body. This last word is just gonna be a hint off what we were doing. So we're gonna do the visions. But this does what will tell us what we working at whenever we see the least of scenes and want to get Teoh just to know what wattage first version iss, right? Uh, save like that. Continue. It's put it like this, rotated a little bit. Just match the day on all we have on the other part. I'm gonna heat go to my tool settings axis orientation. That's gonna be object that way. It'll orient as the object and relate me. Bring it up in its own access. So if I would rotate it like that. I can still use its local access. Right? Something like that. It's fine. Maybe it's too big. There you go. And put that rotation in there. No. Ah, little bit more. It's just duplicated to the other side. Remember, control G to group. Go to my channel. Bucks and duplicate. Put the X scale the group in minus one, and that'll put in the other side. Okay, so, um, the next thing we want to do is probably Yeah, I'm gonna do the top off the buddy, so I'll bring a sphere. Get rid off the well. First of all, let's go to the input and bring this subdivisions to 12. Should be good. Now get rid off the lower part of the and I don't have to select the face to get rid of it . I can just over my mouth and hit backspace, and I can get great off all this faces. Right. There you go. Now, we have triangles in years, so 11 11 on one backspace. I don't have to use the do it actual tool for this because I do want to keep that Theis Vergis is right. Because those are the ones that make this a quad. So let's scale put that in place. Web sweeps. What's going on into my front view? I'm hitting f to focus that piece. Scale it down a little bit. Um, probably get all of this and flatten them out. Grab this edge and bevel to 0.2 maybe 0.1 jumper off. And there you go. Put that in there like So it's this is looking pretty good. That's safe now the untying apart, right? So let's do a plane put in here. Bring the subdivisions all the way down to 11 I'm going to rotate the plane. 90. This is something I usually do. If I wanted to rotate it This I mean, I could just see the color and know the Red ones X, but it's faster for me to rotate a bit. See which ones one that's moving and then put 19 here, Sister Little trick. I just Sometimes let's bring this up. Go to my, uh, front viewing here, and I'll try to copy the shape off that on 10 a. Right, So let's grab this edge extrude. Move G to extrude again. Move, rotate. Put that in place G to extrude again. Move, rotate G move, rotate G, move! Rotate. I'm not trying to be super careful with this. I'm gonna come back and edit that shape. Okay, so there you go. I feel like my verdicts rotate them and move them to place something like that in here. Rotate this a little bit. Hit three to see how how it's looking when subdivided. I don't like to model with the three subdivision on just because I could do some really strange things like that. And when I see them without the subdivision, I'm really missing up the the geometry. So I'm always modeling and wanted just checking out hitting three. How it's looking. Okay, so this is probably way too thick, and it's nice to have some variation to the thickness. Just a little bit. I think that looks awesome now to give it volume. Um, Well, first, I'm going to duplicate that just to make the other one out of this. So to give volume to the sentinel, it select all the faces and extrude them and with the blue one, bring it up food. If I have three, it's already looking very good. It's rounding, um, getting its roundness. Except for this parts, which I need to put a lid on edge loop on. And then we're set to go. It's just put the place right there. I'm gonna move the pivot to that point. He d again to get out of it and rotated a bit. There you go. Now for the other antenna. Go to the front face. I'm gonna grab all of this, rotate them and bring them all the way up to here. I'm probably missing a couple of Fitch lips in here and here. There you go. Trump this like, so rotate. Just try to get the shapes. Um, the way they are. Oops. Um, it's pretty straight now. Ah, this part should be a little bit. Are not that soft when I hit three. So I'm gonna insert a couple of lips in there and there. There you go. That looks better. So, like all my faces extrude them to the front at a couple of loops in this part. There you go. That was pretty is right. That's save for anything. Happens now. I would I don't want them to be perfect, So Oh, abs I'm gonna rotate of them a little, go to verdicts mode and start moving this around a little bit, rotating like randomly just to get them. Not to be perfect. Right? That looks good. So that looks way better than then. There's one. Okay, so let's do the same to it. It's moving a little bit. Rotana. There you go. That looks way better. Okay, so I'm not that happy with this one. Just work. We played a little bit more. Here you go. That looks good. It's put this back in world now. Probably what I should do. IHS gonna hit this bottom to isolate this part. I'm gonna get rid of both of this for no dill. It edge shift, right? Click. Do it. Edge to get rid of the vergis is too. Um and it's add a couple of and just one in here and one in here. Select this faces and extra them out. Now, I can put edges in here, and obviously we need one at the bottom. And this is the kind of things that sometimes the concept are doesn't have, but I know it's gonna make it look better, So don't hesitate and trying this stuff that looks better than this one. They're probably looking Teoh. Perfect, like the same. Some gonna do one bigger than the other just to get some variation. Also, it could be, Ah, hopes like that Looks better. Let's do the same thing for this one. That's grab this to deliver them concert in there. There. Put all the faces extrude bring them out. And now insert the missing. It just Let's grow. Put a one. They're in there. There you go. Okay, So now the next part would be the, um, shoulder things. And, um, we could make a cylinder and get it out of that extruding. So let's do a cylinder safe. Bring this down to 12. Um, that's scale that, like so remember to get rid of the triangles. Like by doing that. There you go. Make sure you selecting the same and just on top of at the bottom. Actually, I'm gonna get rid of this. It's gonna be seen so tab and paint my selection. I'm gonna bring this down a little bit. Like so. Whoops with my face is selected. I want to go and extrude scale extrude Move this two part what I want the arm to be. So I'm gonna do something like that. There you go. I know that concept is not like that, but, ah, it is a little unclear. So, uh, I'm taking this the freedom to all trade a little bit, depending on the needs of the model. So that looks good. That's just something like that and put it in place. Let's go to the front view. F focus. There you go. Actually, I'm gonna put it a bit out. The same thing I did with the handle. X should bring that in, like so. This is way too small. It's scared and to access when it gonna bring my reference and try to match that shape, go to my front view on I'm gonna hit control and scale to do this. Select all these verdicts. We're gonna put this a little bit out just for the arm to fit in this part. Like so. That should be good. I could get rid of this. So as you saw, um, it's just a guide. It's not, um, the final thing. My proxy Spring this out. Andi, that looks pretty good. Gonna grab all the edges I want harden. So these one please want this one also this once, all of this. There you go. And bevel two segments 0.3 should be going. This one jumper off hit three, and that's it. Okay, that save now for the little screws it has in this part. I'm gonna do a cylinder, go to my channel. Bucks, bring the subdivisions back to maybe eight this time cause they're gonna be a super small. It's doing something like this. Get rid of the faces at the back, Get rid of the triangles. There you go. And select this four faces extrude extra again scale and bring it up once more. And so, like the middle very d c. And bring it up just to get this form. No, I'm just like this edge and this one. And bevel two segments 20.1. Now 0.3 and chem for off. There you go. Probably I could select this middle edge and bring it down. Hit three. Yeah, that looks better at a distance. Um, that's not actually what I want Or is it? Yeah, it doesn't look bad, right? So maybe just let's bring this out a little bit and Beverly to just that. It looks a little bit more stylised. Okay, that looks better. There you go. I'm just missing one in here, and that's it. Now I'm gonna rotate it this way. 90 degrees. Oh, 19. I'm gonna move it with my point snap turned on. I'm gonna turn on my word from Unshaded and bring this up onto here. You can see it's snapping to all of the points on the surface is some god putting here? Now I can turn off this in, turn off this, make it a little bit smaller so that now I have made my pivoting there right, because they want to use it as a pivot to, uh, put the screwing here and rotated around all this circumference. Okay, so what I'll do is to keep the people in there. I'm gonna move the verdicts right. Whenever I move the components of an object, the pivot remains at the original place, so this is pretty convenient. I'm gonna put this in place by using the components. It's too big. And there you go. And my people still right there at the center, off the circle. Right? So if I duplicate and rotate It rotates along the the circle. Okay, so I'm gonna hit or hold J on my keyboard while rotating That way, it'll rock rotate in increments. And now that I have moved once my object, I'm gonna duplicate again. But instead of using control, gm gonna use ship D, and it will do the same or move the same amount I moved the past time. Okay, so if I go shift the it's doing 30 uh, plus 30 again shifty. It's doing it again. And I'm going to do that until the last one. Okay, so that's looking pretty good. Bring a little bit back. It's probably a good time. Teoh start renaming. So going to select all of this and I'm gonna name it. First of all, grab it all edit, Do it all by type he stream or do it by type. History s I have everything grabbed, but I tend to use this more just in case A for God or I missed something. Now freeze transforms and central pivots. So everything has its their own people at their center. So this cube is gonna be the, um, geo body bucks. This is gonna be Geo body books lower. It doesn't really matter what name use geo, uh, handle on the score bar because this is the right off the character, right? This is his right. Gonna copy that name pasted in here and just change that are for an l is gonna be named Tina Base and Tina. Right? Uh, let's go with anti No. One and Tina too. Save now this is gonna be named geo shoulder. And for all of what I'm going to select this one and this one, then shift and this one shift and do, ah, a selection and it's gonna invert my selection. Right? So now I have all my it's Cruz instead of going one by one renaming what? I'm gonna just hit control G. And it's gonna be group Screws Hill, and that's it. Now for this part, I'm going to group them duplicate and minus one in X that way it mirrors. And now I can get rid of the group's I'm gonna hit. So, like both of this and hip shift p two unp Iryna from that group and I can get rid of the grip. Same goes for this to shift P one parent and get rid of the group. Now. This is okay. Grab this to shift P. Get rid of their groups and these ones, which are the, uh, let's see, these ones should be named. Screws are in this one. It's cruce l This shoulder is the right left one. I mean, yep. All right. Made a mistake. So this once should be left. And, of course, it doesn't let me do it. So let's put this right in this illness left. So left. Left, right, and shoulder. Right. Okay. There you go. Now, that's looking much better. Wait, um, or organized. And if there was the case that I would have extra geometry, I would have known because there would be something without a name that I wouldn't have selected in here. Right. So let's save. Ah, this is looking pretty good. Ah, for this next part. One I want to do is select both this and heat H or no. Yeah, I'm gonna hit h just to hide them for now. Also, these two should be hidden. So hide. Um, yeah. So the next thing would be getting the actual curvature on all the all the borders Okay, So that we were going to do that is, first of all, it's selected Hit one. We obviously need a couple of edge loops to get this done. So I'm going to try to get this subdivided and get all the faces at the same size, more or less. So that works good. Maybe four in here. There you go. Maybe one extra here. That could be a little bit. Well, like that right now in here. Four. Just like the other bucks. Five. This access and maybe one the middle in here. Okay, so it's safe. And if we hit three, that looks pretty good, but it's still missing that curvature. So what I'm gonna do is go to my green modeling, right? So let's go to rigging. And inside my rigging tab, I have this one this many called deform, and the tool we want to use from there is the one named Lattice. Okay, I'm gonna hit the lattice, and it's gonna create these that when I had this lattice is a box created around all they had selected. And I can have the subdivisions edited in here, so I might go with something like five Yeah, that looks good. 55 and maybe three in here. Maybe one more. Let's dio something like that. Okay, So what this letter is does is if I go to lattice Point, I can deform smoothly. All of this piece is right. So if I select all of this and he'd be in my keyboard, that's gonna turn on myself selection mode. And if I had be again and be hidden hold and then drag with the mouse, I can get the the area bigger or smaller And the yellow very six are the ones that have selected The red ones are the ones that have more influence, and the black ones are the ones that have less influence. And obviously the pink wants are the one I'm not even selecting. Right? So if I bring this up to something like that, I'll have a smooth DK and this deformation, right? You see what's going on? If I would turn this off, that's what would happen. But if I turn it on, I can do something like that. So let's do the radius bigger or maybe smaller, like so, and then grab these ones in these ones. Make it even smaller. Just, uh, make it a good okay. Now for the bottom part. Let's do the same. Bring this down. This one's don't to. So, like all of this ring, bring them out. It could grab all all that grow and move this to the front to get that curvature. And I'm getting it on all my pieces because of the latticed. Right, So this is super convenient. Maybe grab these ones, bring the sub selection a little bit down. So there you go. It's looking pretty good. There you go. I like it very much. Let's scrap all of this. It's Caylee a little bit like so. And now whenever you're done, you can just grab this lettuce and delighted because it will loose the deformation and hat . Right? So what you want to do is to fly. This deformation is go to edit deliberate, type over type history, and it will get rid of their the lattice and keep the deformation. Okay, so now grab everything. He three to subdivide. Oops. Let's turn off. Let's put this in three and you know it, um it's starting to look way better. Then it did. I can tweak a little bit. This go to my side view so that all of this, and with myself selection, bring it a little down just to get all the deformation is right looking smoother like so And there. There you go. That's looking pretty nice. Now for this part. I don't see any issues. Maybe in here I see something. So let's go to my top view. Select all of this like, so let's check it out. It's looking better. That's to the same for this one. Let's isolate, grab these two and these two. And there you go. So that's looking pretty good. One thing we're missing is the curvature off the screen. So for that, I'm gonna select maybe this three ever disease. Bring the radius up and just get that curvature out of it. There you go. It's looking pretty nice. Okay, That's good to this view. That's trend. Agreed off. 19. 04 - 03 ModelingTheLegs : Hello. Welcome to this lesson. So I already have the body. Next thing to do are the legs. So before anything else I'm going to save. Ah, a new version. That's gonna be racial number two. That's gonna be cold legs. Okay, so we're ready to start now. Gonna turn on my proxy just to see where they should be at God created a cylinder. Bring the subdivisions down to 12. Get great up this triangles, as always. There you go. And now let's put that into place. The way I did it on the proxy waas in just one piece. But they should be done in two pieces just because that's the way the concepts it's done. Yes, that spring. Oops. This back 11. So I'm gonna finish the model, and after that, I'll rotate it to the front. Okay? So should be pretty simple, actually. Uh, me. I just have a little get the concept. Died a little bigger. Okay, that's good. A couple of loops in here. Three should be good just to ah, with the sub selection. Just something like that. Just Teoh. Make it look a little bit more stylised. Don't want him to Don't want them to be straight. Okay, so now I'll do this. So, like this Faces control, right click and two edges to edge perimeter. And there you go. That's the way to select this Loops. Let's do a Ah, I didn't think if I wanted to bevel right now actually known. Let's wait a bit for that. Let's first create the lower part of the of the leg. Something like that. I'm gonna get rid off this or maybe just rotate 180 degrees. So I think I was gonna do this, do the adjust, and then put them back again and, um, do the same thing as we didn't hear, but to the backwards, to the other side. But we could do it like this and then just self select. There's to bring them a little back just to make it. The Gleicher little leg looks good. That's safe. Um, actually, this shouldn't be all the way down there. Something like that. It's better. It's bring this up and scaled down a little bit. Okay, now, this part that's put it right there, I'm gonna insert a couple of loops to make these round shape it house on the top of the leg , wanting there something like that on grab this in the tub and scaled them. Now it's just put a couple of veggies in here. There you go. Maybe we should bring this down a little bit. It's just put an edge loop here at the top. Bring all of this up until there. There you go. Um, we might want to bring this a little bit further, so I think so. It's pretty little been here. Grab these two faces. Or maybe not. That's just will do that. That's another piece. So it's just put this in here. It's kid a little bit. Select all these lower faces and extrude. There you go. Um, gonna create a cylinder that's do 12 again. That's get rid off the triangles. It There you go, actually. Nope. What we want is not a cylinder we want to pipe. It's bring this pipe down to 12th to something like this. Rotated 90 degrees the sea excess. There you go. It's put that in place, something like that. And there you go. Now we can say this is too far down. Should be like so it can actually select all the edges and de select the middle ones for just double click on this. It just we want to bevel point three off the jumper. There you go. We can start to select all of this. Bring them down. Hopes. Not that one, actually. Let's do that at the same time with the ones at the back. There you go. It's get rid of this one's just over the middle. One's a little bit more on the ones in here. A little bit more. See? Killed him a little bit. That looks good. Maybe we could style is this piece Ah, little bit. By grabbing all of this and stood by hand. It's just something like that. I'm gonna get great of this one. Or instead of good grade. Just skilled. There you go. That looks better. This is probably to the whole lease to being I'm not liking it that much, so I'm gonna bring it down a bit. Here you go. I think this is too far away, so I'm gonna good closer. Just put one loop in here. The middle, Okay? And probably one more in here. So both of them. And there you go. That looks better This'll turn up myself. Selection Dinner. There you go. Let's do the same for this part. Bring this down. Let's put this a bit further. All the red cities, except for this to bring them up a bit. Get rid of this. And this with control. Get them there. And these two a little bit more. There you go. It was perfect. All these edge and bevel off. 2.1. Moving to the side a little bit. There you go. It's spring it down a bit. I think so. Um, now let's grab these. I'm gonna grab the faces. Control right. Click edges to perimeter and bevel. Two segments 20.1 off. There you go. So this is looking pretty good. Uh, I wanna, um, do a little bit off rotation on this leg. So instead of doing this with all the peace, what I'm gonna do select Onley this very cysts so I don't mess up this top hard. I'm gonna put the people in there with D. We didn't do something like that. And that should be Let's bring this further a little bit. Also, there's on for this one. I can actually rotate a little bit back. Words. There you go. That's looking pretty nice. Now, let's do the feet or just one foot. Um, gonna bring a cube, bring it up a little bit. This back. Just forward. It's just insert loop right there. Bring this to down. Also, these ones. I'm watching my concept art departed for the feet is something like this. It should have another one in here, like so this is smaller. Like so Also, this part That looks pretty good. Let's bring this down a little bit more. Also this part save. And there you go. Um, it's put in a loop in the middle. China. This kid like that down a little bit. No. I can group this this these two and the ones at the top and do a bevel upset. Missing these two. It's pepper 2.3. Maybe turned champion off. Ah, Should I have all these 12 maybe. Um, I know. Yeah, probably. It looks good. It's just bring this front. Also, this Let's try to get rid of, uh, that little pointy saying, I think that they go, it's much better, so that looks pretty good. I'm gonna put my people down here and probably duplicate. There's one. So put the pivot right there. Scale it down. Like so something like that. It's duplicate these one. Put zero in the rotation. No rotated 180 into the but part. Just something down. And there you go. We're now just, uh, missing the middle part. This is probably too small. Thats center people and kill this, huh? You have that looks better for me. Okay. Safe. Um, for the middle part front for the middle part, we're going to create a cube down. Could it couple of lips move three in there it is something like this. Select all the This is pretty basic shapes and special. So that's how the concept iss we probably want, um All right. Something like this for the foot. Right in here. Gonna put three loops in there. Maybe just started. It's one that's train them up to get this right. OK, so scrap those new loops that shaped them. Oops. Well, that's not what I meant. Actually, we need one more loop, some not getting the shape I want. So, with bad one, I should be able to There you go. Thanks. So and now, which isn't it a couple of seen here? You get that harden. There you go. That looks pretty nice. It's do this a little bit smaller. Thanks. So I know I save a lot, but I know it's something. I have always done this up de select the middle ones, bring the others town de select this. It's actually select all of them. Except for this one's. Now select There's ones. It's just right. Something like that. There you go. Looks very nice. Um, no, we should put a couple of these at the feet. Hopes, huh? I I think there's one inch, um to So what I'm gonna do this road to There's a way. Put it a little bit up. Nothing like that. Just get this rotation to be the same. And there you go. It looks good. And for the other one, it's please right there. Like, so That actually looks pretty good, huh? It's 21 more for this, but heart hopes wide. What did I do here? It's trying to put this back where Dunks. Right in there. Just something like that. And then just kill this and this. There you go. That looks pretty good. Um, it actually looks like the concept. So let's scrub all these part. Um, I'm gonna combine it first combined. It's everything. It did steal it by type. History on this should be named Geo. Um, leg bar. That's could the pivot on the origin. That's D Turn on my snap to the grid. More of the pivot. Turn this off. Duplicate and miners one on this scale. And then you go. Now, um, this should be named. Thank no Save wants more on. I like them very much. They look pretty pretty cool. Let's see. Everything's named unorganized. That's very good. Okay, so I think we're ready for the arms, Which will we will be doing on the next lesson. Okay, guys, I'll see you there. But by 20. 04 - 04 ModelingTheArms: Hello. Welcome to this lesson. So the only thing missing in here are the arms. So for that, I'm gonna creating a version that save this as version three, Bruce arms save. And they're pretty similar to the lake. So what I'm want to do is, uh, duplicate this leg. Let's go to, um modify, center, pivot. I'm gonna get rid of this upper faces and for the food I'm going to select like this. Control, right Click grow selection, and he g a couple of times to grow selection and good riffle off those that's rotate this 180. So holding J and that's put in place. It's now. So that fair to seize skill them a bit to make this look. Oops. Sorry. Make it look better. This this one's on. There you go. That's the arm. Okay, the completing it now for the hand. I'm gonna bring a cube. Um, making slimmer. Let's put it in place. This should be okay, but, uh, larger. I'm gonna insert a couple of loops. Move this a little bit awesome of this shouldn't live to. Thanks. So I don't have ah side view off the hand, but the way. Imagine it. ISS being thinner at the tough part, and I think that looks good. We actually will need to separate this to be able to duplicate this part. Let's put it in there. There you go. That's what they think. So save. Um, let's add loop straight in it and bring it down a bit. Let's try to put this in place. They goes, Okay, now let's select the edges. Oh, my God, it's a bad one. There you go. All of these. Let's just make sure there's nothing we don't want to be selecting. Selected. I think there's not. So you can go ahead and bevel this to 0.3. Turn off the champ for Maybe I want to do something like this to make it look a little bit more interesting. And for the, um, fingers, I kid, let's see if this works do look good. This peace that's Freese transforms to that way. Sorry. No, that's bring this down. Rotate hips. Oh, that's put this in world. Gonna be a hard part. So it's just get rid off all of this. Also, this one and this one. That way it will. It will be easier Let's put that in place. Bring these up, world. It's trading world. There you go. Now, let's get the shape right. Should be something like this. That's with sub selection. Try to bring this down a little bit like that. And there you go. This actually looks more like the one that goes in here and the other one that's duplicate making little smaller for the pivot right there and scale it down. It's actually put this like that. And there you go. Now we're on Lee missing the other finger. I'm gonna duplicate this. Put it in there. Uh, just for now, isolate these two and bevel along the needed edges for this one. So it's like them, like so that's to bevel. Two point for Should be good. Temper off. That looks pretty nice. It's the same for this one. Select all the necessary edges and back home. 0.3 two segments champion off. And there you go. Save Put this subdivided three. Um, that's ah, super little hand. So I'll just give it up whenever I'm done with this last finger. So it's center pivot put in place. Rotated. I think so. I'm gonna this'll part like that. Then grab all of this very cease and start to rotate them just to get there. The shape I want, which is something like this. There you go. Love Segre one I didn't mean to. It's isolate this finger. Select all the that. Just I wanted to bevel justice. We did with the other fingers. Both this and this. Now it's bevel. That was point for two segments. Jumper off. Whoops. This partisan that meant to be like that and spring this up a little bit. I think it will be looking better. Yeah, And there you go. Now, this hand is looking good, but it's too small, so I'm gonna combine center pivot, bring the period up, put it right in the center of the base. There you go and scale it up. It could also make this bigger. Okay, That's way too much. Something like that. That looks good. Well, one thing I don't like is the fingers are too short, so I'm gonna grab them and start stretching them just a little bit. Yeah, that looks better. Now we can rotate it a little bit to the front, Then we looks like a bit better. Okay, So now we're gonna select all of this actually, before duplicating I want Teoh do it all by type history. Ah, this I don't need any more. This should be are. But arm not the leg. And I think this iss my Geo Geo Andi! All right, this actually it's copied his name for all of this. Let's combine mash ups modeling mesh combined. Get rid of the Whoa! No, no, no. One second. It's history out there. Combined them. Yeah, um that's going on. It's renamed first. There you go. Did all the type history. Oh, there you go. Um I think everything's and then, except for this. Let's just grab this too. Grouped them duplicate that mirrored them. Grab this to shift p to get them out of the group with the group. Grabbed Theseus Shift P and get rid of the group. Now let's just rename l l and I don't know, this may be a little bit too small steel, so that's grab everything, Marty. Five Freese transforms. Bring this a little bit up. Maybe 1.25 And for this one leads to the same 1.25 There you go. Grab everything again Modify Freese transformations. Um, just in case there's no history, but just in case dilated, modify center pivot. And that's group this and want to have into this groups. Oh, okay. So let's grab everything in here in the outline. Er, that's group that that way it stays the same way. We have it right now. And that's right. Rename this group, um, Robert just to be organized. Ah, were actually done modeling the base of the robot were still missing. A lot of the stuff that will make it look, um, more populated. We're gonna do a lot of cables in this parts. Um, probably in here, In here. There's some pieces missing that I wanna They want to make Fred also in here because it looks, um, that gets missing something, right? Also, a little a couple of cables in here, uh, in here. That way. You look way better, in my opinion. And but for the the actual body, for the for the model, this is this is it. OK, so the next lesson will be doing all the extra pieces and cables were missing to make this look even more awesome. Okay, I'll see you there, guys, but by 21. 04 - 05 ModelingExtras : Hello and welcome to this. Listen, right now we're missing all the cables and the little details of models, so let's get started. First of all, let me save a new version of this. It's gonna be a petition for, um, it's quite props. So first, what I want to do is bring this hinder. Um, probably bring this subdivisions down, maybe even less. State gripped the edges, wouldn't want and do it Gonna grow this faces on extra them. It's killing in. I think so. Hopes. This is, um, probably too small. So I'm gonna do it. That one. Bring this. Like that. Both of these wounds. There you go. That's add some loops. Actually, it's great if all of this. There you go. Now, Um, let's put that into place. Skilled him down. I want this to be a little bit, um, big. Just it doesn't lose this Titleist or the Krypton looks implicated. There you go. Now let's say we wanted the same. Um, Jack, I guess your input in here a couple of times, it's duplicate with shift D. Something like that and for the actual cable when we want to do is create a cylinder and spring there. Subdivisions don't eight f to focus on that. Let's get rid of all this faces. And I'm gonna grab all of this and turn on my great snap. Bring it down to the origin. Okay? So instead of using this because I'm going to do a lot of cables, what I'll do is just to placate this faces each time I need, um again. It's probably get rid of this Sunday. There are no, um, triangles. So that's duplicate. One time. I'm gonna live it in here for now, going to go to my create curve tools, CV curve tool, and make sure this is reset and three cubic is selected. So now what I can do is go to I mean this Do you or let's sexually turned the this on? Turn my point. Snap on. Put the 1st 1 in there, then go to this view and start. Whoops turned this off. And now we can start creating this curve now to and the curve. I want to turn this on again, snap and put it right in there so I can go to control verdicts on the cool, turned his nuts off and edit this points a little bit just to make it look a little bit better. This step path, Our cable is gonna follow something like that. There you go. Now let's grab these faces I already had in here turned my curves snap on and try to snap it to these. Kurt, There you go. We can turn it off now. If to focus, that's rotated. It's hide these guys for a bit. Let's rotate this faces until they match position We want This is probably too thick, so let's bring it down a little bit. Now let's grab the faces, then the curve with shift and shipped right click extrude, and you can see what's going on. It's extruding, uh, from the first point to the last point of the curb. What it's missing. It's some divisions so you can see us. I put more divisions that you start to full of that curve, and you can also see there's a lot more divisions in here than in here or in here. That's because let's go back a little bit so that that's because the curve, um, that's the way the points are separated, right to get that fixed. What we need to do is select the curve, go to my curves menu and in here we have this rebuild tool. Let's try to reset, see what happens. So that should be good. Now it's try that once again extrude. It's put a couple of divisions, and that's looking way better right now. It's the same division seen here, in here and in here. So this is looking pretty good. I'm again. It isolate, um, this cable with it and get rid of this faces in here. The ones in here we can subdivide with three Bring this guy on a gun again. H um, it's changed off. There you go. That's looking pretty good. Now I still have the curving here, and if I move that, it'll move the geometry voted to get rid of this deformation, I need to select the either the curve or the, um, geometry. I actually think it's the geometry. I don't know if that would work the Cruyff. So So the geometry edit deliberate type history. And then I can move or get rid of this and keep the deformation and my cable so that sue it once again. That's good to create curved tools CV curtail. Let's turn this on. Turn my snap on. And by the way, you can access this with your keyboard. So the 1st 1 which is the green one, is X the next one's Z C. I mean, Nixon's Avi. And actually, that's the three au used most. So that's hit V and snap in their go to my side view something like that. Going to hear, um, the again and snapping there. So and now we can just control these shapes. Something like That's in good. There you go. That's crab. This go to curves and revealed. Check that out. You can see it got rid off a lot off the verdicts ahead. That's duplicate this faces we have in here turned the, um, curve snap, which is might see, and with the middle click of my mouse, I can snap it to this curve. Let's try to get in here. There you go. That's hide this guy H ally in this faces. It's killed them a little bit. Grab the faces, grabbed the curve and extrude. Let's do a couple of divisions. Something like that should be good. Subdivide. Let's isolate this cable. Get great of this extra faces. We don't need woman stuff, and it's looking pretty to get Let's bring this guy visible again. Let's say now, Um, what I want to do is create a cube for the plug. I'm gonna something like this that's put, uh, a loop in the middle. It's scaling, so make this a little bit round. Let's put a couple of loops in here and here. There you go. That's extrude. Both of this turned the skip face together. Off, maybe off. Sit down a little bit. 0.1, Um, maybe a little bit more. That's too much. 0.2. Okay, that's six. Trude. Again, the offset points for one offset finds one extrude again. Bring them out. Stood once more put like that and once more Give it enough Said so we have there necessary loops for this, too. The good when subdivided. So that's looking pretty nice. Brinkley's back a little bit all of this get rid of the ones we don't want. There you go. The canal adjust. Get that And this too. Oh, big. So that's put like that. That looks pretty good. Actually, I'm not liking this faces in here. Content looks much better put it like that. Now that's create the cable. That's good to create curve tills. Um, strange Nissan. I'm gonna snap to that run. Go to my side view. Okay? So let me do it different. Let's do it. Starting from this way. So that's does something like this. There you go. So the problem with doing this is that I e The first point I put, um, it does matter if it's the one on the end or at the beginnings, you'll see why in a second. So let me just, uh, But this let's use the self selection to make this look a little bit better. I think so. Actually, I should have little curvature like that. Well, it doesn't even matter, because we're gonna do this again once more. So let's say you duplicate this. Snap it to this curves, um, aligned this. It's a bit further. There you go of the face isn't than to curve and it trade extrude, and you see it's going to read to the end of the curve, which is the site. So even if I get a lot of subdivisions, it's gonna look bad, right? So the way to get rid of that is selecting the curve. Go to curves, reverse direction. And then we can rebuild code. And there we go extrude and you see, now it's working. Right? So I wanted to do this way. Just that s so you can see if you and counter this problem. I didn't time. So it's edit this. Actually, I'm not liking the shape. I'm gonna do it again. Create See Vicar till gonna start from here. Looks that what I meant, g To do that again. The Where did it's no. Oh, see, There you go. It's just something like, uh, let's go to my top view Now I want to dio we don't something like this. I don't want these two curves to be the same size, so I'm gonna make this a little bit bigger. There you go. Something like that that looks way better. So let's scrap the faces, then the curve and extruded. Let's try 50 divisions. Uh, that's first revealed that curve. Nope. You see, um, the the number of spans right now it's too low. So it does that. So let's bring this up a little. There you go. That's much better the face. Then the curve extrude this two. Big solar. It's scared down. Now that's trying to do. There you go. That's try 50. That's looking pretty good. Let's go to edit Did all by type history. Get rid of this curves. Let's put this in place with myself. Selection. I'm gonna do this. There you go. I actually want to select this or maybe insert a new loop, but it's straight. Then grab this faces and extrude. Hm? Just create this little offset once more. There you go. Put on here and wanting there. What's going on here? And there you go. That's looking pretty good to the right. There you go. Now for this part, I kind of want to make something similar. Let's get rid of this faces. Bring. Actually, I'm going to select that, uh, loop and extrude. There you go that select that and extruded think that crab the ones in here and make them bigger. Now we just need to put a couple of loops. And there you go. That's looking pretty good. Save again. Um, let's do a couple off. Smaller or a thinner, um, wires for thes parts. Let's see how that works. So gonna go to create, um, that's curved tool seeker till on. Probably want to snap in here. Go to my side for you. Start creating something like, uh, it's crab. The verdicts to edit this curve to make it go around off the arm and go in there. There you go. Now that's duplicate this faces, Um, grab also this curve, and I want to isolate them. It's snapped that to the curve. There you go and rotated until it's facing the direction I want to extrude. So let's do that. Then let's scale a little bit, so that faces the curve and extrude. That's still 30 divisions. Um, I need to revealed this curve. So selected curves revealed of this faces curve extrude. Yeah, let's say 25 this time. There you go. It's if I don't do the history. Whenever I get rid of the curve, it gets rid of the geometry. So did all by type history. And then I can get rid of the curve. Um, let's see how the fix. That's actually pretty good. That's Dio. We could do a new one for this side, but I'm going to duplicate this one just put in there like so grab the Actually, we kid, just rotate this so that it goes right there. Now that doesn't look good. That's just sub select and edit this a little bit, just so that it doesn't look the same. There you go, folks. Better. It's now create another seeker tool. Girls from here snap in there to kind of the same thing again. It's Hey, there, time that self selection. Um, there you go. Let me bring this faces once more so that the curve in the faces isolate them. That's snap these to the curve. Remember that? CME holding C and with, ah, this, um, little square selected. I can middle click and amounts to move it without clicking in here so it doesn't matter where my mouth is. I can just middle pick and do that. So if I'm holding C, which is me curves nap for the mouse over the court and do right click, that's what happens. Okay, let's do this other bit smaller again. Rotated to match extruding direction. Corrupt. Those faces scrub the curve and extrude lips. I forget again to rebuild. I always forget that. So it's pretty important. So China's Forget it. It's now into the extrude. There you go. 15. Should be enough for this one. Let's see how that's looking. And I can actually grab these curve and keep editing the points, and I'll get the deformation out from the geometry, So that looks nice. There you go. That's create couple for the legs. I'm gonna starting here. Where did that go? Oh, it was right there. There. Go to my side view again and start. I'm gonna do this. Like that. There you go. He's got the front view and tried for this. Like, uh, make this go inside home. There you go. That script, these ones again Duplicate him, isolated with the curve, Snap it to the curve roll, tape them. And I want this to be a little bit smaller, so I'm gonna just scared them down a lot. Faces curve extruded, maybe 13. Looking good. There you go. And I don't want toe put like hundreds of these guests. It would lose the scared to look, so just a couple, Um, I put two in year. Till is the symmetry. And I'm gonna probably put a little bit more until X than on the arms, but I don't wanna, um, like, do this too much. Um, it's go ahead and create another one for this leg. Gonna go hand most this around a little bit. Want to bring those to the other side. Thanks. So it's going to the hole. I think I'm missing 10 there it is. And so it wouldn't come in. Just making sure it's looking good from, um all the possible be use. There you go. Just this one there. This now that's to this. Once again, it's like this duplicate of the curve. Isolate, snap it to the curve, Rotate scale down crap the faces than the curve and extruded. Bring the divisions up. Don't forget to rebuild, Curve. I don't think that worked. Revealed. Now, let's grab faces, curve extreme and trend divisions up. There you go. That's safe. Actually, that looks pretty good. I'm good at Just bring this up. So it intersects with the body crop. This to implicate him, put them in this side. Maybe I can, um, groove them sent to the pivot and rotate 180 degrees. Try to put them in place after doing that. So it kind of worked. Not so good, but it's something now. I can I can, um Sorry. Uh, grab this faces in with myself. Selection turned on. I can move this around a little bit. Like so. So it's to the same for this one. Let's try to find the tip. There. It iss, and that's hiding in there. There you go. That way I don't have to do it all over again, and it looks pretty nice. Um, I kind of want to make a couple for the feet, so let's go to curve tools. Create. Start from here. Go to the top view of this time. Um, just turned this on the way I did. That is, uh, shift space and I can get rid of all the windows are on me because I wasn't able to get to this tool. So there you go. That's what I needed. - Now , um, that spring this to placated. Put in here, grab the curve, isolate. I I gotta snap. There's to the curve, rotated it, scale it down a lock. So I'm going to duplicate this a couple of times. So there you go. Grab this. Revealed. There you go. So the faces curve extrude gender divisions on to 20 should be good. That looks pretty nice. I'm going to duplicate this a couple of times and just edit with myself. Selection. Let's bring it down a little bit. I can rotate a bit. Does something like that moving around a bit? There you go. It's rooted this a little bit. And there's one I'm gonna scale down. I'm going to duplicate that and bring it to the other side. I'm gonna combine those and scare them in the X axis minus one just to make them look different. Probably even rotating. Just tried him much the position I want. There you go. That is to get I actually may. I want to make one more. Just for this right leg comes. I'm from here. It's good to the site for you to make it just something like that. Took my critics. The soft selection turned on. I'm gonna bring it to the other side. Turn this off right now. And there you go. That's pretty much what I wanted. Okay, so this could be what can be a tedious process, but that's it adds a lot to the model. It looks a lot more complete when you have Ah, a ton of these, like little extra stuff on it. And just like in each of the processes, take your time, be patient. It will pay off, I promise. And that's also attention to detail, that something pretty important to have be mindful of about the the little things. And I decided get this in a little bit better. Like so. So now that's just, uh, edit delete over a type history. Get rid of all these curves. Ah, Curve, let's get rid of that now. That's like all these cylinders and I'm not gonna go and rename each of those. So I'm gonna group them and call that group. Underscore, um, Extras. Oh, let's save this open this group actually select the, uh extras group, then shift. So, like the other group and hit P that will parent their group. The 1st 1 you selected to the other one There you can see it. So there you go, and we're pretty much done with the model. Let me safe. And it's just think this in, Turn on and alias. And so it's looking pretty nice. Um, I really like how this came out, so I can't wait to start, uh, doing some render for this guy. Okay, I'll catching the next lessons to start learning a little bit of Arnold. Ah, there's Oh, let me get rid of this. The shade er's it has and the render itself. Okay. I'll see you there, guys, by 22. 05 - 01 Rendering: Hello and welcome to this. Listen. So in the past section we finished modelling the robot. The only thing I forgot to do is add this little cables to the wrists. Right? So, the way I did, those waas took the ones from the feet and duplicated them and edited them a little bit, and that was pretty much it. So now let's start learning, Arnold. Okay. So right now I don't need these. Um, this layout I was using for modeling, what I actually want to do is create a, um, a custom layout. So let's turn on the's for panel, Leo. And what I want to do in here is Ah, but my heart hyper sheet and this is probably not gonna work due to the resolution I'm using for the these videos. So I'm gonna show you how I would do it. And I'll do floating windows instead. Just because of the resolution, because I have this set up to lower solutions so that everything is more clear on the videos. So I would use the hyper graph in one. Then the, um where is it? My render view in here. Ah, to be chicken. Got my render and I would create another camera that's gonna be create cameras on camera that's skilled it a bit. Just ah, just it is for it to be issued to be seen. It's rename it to render underscored camera and in penalties go to perspective and look through that. Let's turn on the wrestle listening gate. Let's center this whole object. What? What did I dio all of this? Put them in there. Um, so, yeah, that's the way I would, uh, work if I had the normal road solution off a monitor. The way I'm gonna doing do it right now is go to panels, layouts and two panes side by side. Um, get a So the panels and my camera in here and my normal my perspective camera in the other one. Just eso that it is easier for me to see the these two, um, windows. So let's turn this off. Now. You see, I have these resolution right now. That's not what I want to use for these guys. So before continuing, let may save a new scene I'm gonna do in your folder. That's called rendering. Normally, I would have in between these two folders Ah, lot off extra folders for UV on wrapping and texture ring and other stuff. We're not covering this course. So right now we only need this too. So it's open this that's gonna depression one off our rendering. Whoops. That's not what I wanted to deal. Let me tell you why. So I have robot underscore Marling underscore Black. So let's get rid of that and actually safe, uh, another one called Robert Rendering. And get rid of this last word, which I don't need any more. Okay, so let's go to my render settings seen here. And the first thing I want to do is change the image size for this guy. Probably a screen resolution is what I need and you can see. Um, whenever I hit one of this, it changes in year. Also the number I'm gonna do one k for now, we might, um, do something bigger in the future, but, um, it's probably gonna be square. So that's Ah, 10 24 by 2020 10 24. And I want Oh, uh, say my rentable camera is my rendered camera, not my perspective camera. And I think that's it for now, we could change this image format right now to something like T for PNG. But we're not good. Not gonna render a sequence, so it doesn't matter right now. So that's for this camera somewhere we like. Let's make sure this is This group is at Ciro's, And scales are one we for continuing. That's putting my camera something like that in my perspective. Camera. I'm gonna create a, um, a cylinder. Do it, uh, scale it other bit and rotated. Gonna get rid off all this extra faces I don't need And you can see it looks black from the insight that that's because the normals are facing the other way. So I'm going to select the faces shift right click face, normals, reverse, propagate. Then let's just put this in place. That's this is gonna be my background. Um, it's put it in there, Make this a bit longer. That's extrude from there to the front. Do the same thing for this one. Gonna turn off my grade right now. I wanna could my even in their inches too. Make sure I'm drink this right. There you go. That works a little bit like so. Subdivide this plane. Something like that, Spitter, so that it's not penetrating. That's extrude once more. And in my camera, uh, my rendered. Come. I'm just gonna scale this until I can no longer see the borders. Okay, so let's save. The next thing to do is select my camera with this little bottom or selected. In my perspective, you grow up all this, right? Click and look selected. That way I cannot miss up with it. I cannot move anymore. Um, and that's pretty useful. Okay, I probably don't want toe put it like this. Um, like, straight to the camera. So let's try to rotate this guy a little bit. That's why I wanted to have these in serious. Because if I wanted to put him often on the natural position, I would just come here and put this in zero. And there you go. So that's just something like this for now, Um, that may not be final, but let's work with that for a little bit. It's turned out that great in here, and right now, what I'm gonna do is go to Arnold and turn on my Arnold render view. Let me bring that in here. And what that's doing is Ah, showing me my rendered scene right now. There's nothing to see because I'm just gonna put it over this for now. Um, because there's no lights. Right. So that's bring light. I'm gonna use on Lee Arnold lights. And actually, I'm gonna only use our delights and you can start to see ah, what the lights doing in here? It's that way. I'm going to scale this light. And it did nothing right now because for you to, um, work with the scale and be Ah, correct. You have to go to the attribute editor and for my life, I want to turn off this normalize tick. Okay, so now I can see what's going on. If I and some out a little bit, If I scaled this, it will need more light. And if I don't Skillet, it'll be this. Okay, so that's changed the camera in two rendered camera. There you go in here, and I'm gonna work with a really basic light set up, which is called three point lighting. And it consists on having three light sources. One main light in here. Right? Uh, can I change this? Caller, please, Let's do something like that. So this is my main source, Uh, on the opposite side. I want to have a feel light, which is gonna help me. Ah, make all the shadows not look black. And I want to have at the back of the model a green light, which is going to do a little rim from a model on this site. Okay. It could also be that this is the, um the key light or the main light. These ones, the feel and the, um, relates here, so it doesn't really matter as long as you have all this three lights in, they set up similar to this. Okay, so this will be my main light the way when I'm, um, rename. This is LGT for light underscore. And this is gonna be my killing, right? Right Now, um, what I want to do is just something like that. Bring the exposure. I'm going to be working with explosion, not with intensity. So something like that I don't like this being that's straight. So let's change this to object. Rotated down a little bit. Also this one. Bring it up. There you go. And it's good to my editor now. I'm gonna use close temperature. This is a common bug off Arnold. Whenever turned this on, I should be able to move this later. And right now it's not letting me. So the way to, uh, make that work is go to my channel books. Look for that for that parameter, which is in here color temperature and move it. Just a little bit of this really matter that will unlock my slider in here, As you can see. Oh, it didn't. It usually does me just I try to do it that once again go to my actually a teacher. Oh, that's odd. It normally dust, let me do it. But it's all right. We can go get this. So this is Kelvin and the hired goes, Ah, the more off a cool or bullet you'll get And the way it goes, the more off a wrench or reddish kind of like you'll get I don't wanna be too extreme with that. It's just ah, little bit like so, no, I'm gonna create a new light of this, which is gonna be a another area light. Put it facing that way, have a bigger Not as biggest is one Also, it depends on how close it is. Obviously. So you can see if I, um, bring this closer. It's letting it a lot more than if it waas far away from it. Right. So let's put it this way. I want to turn off the normalize tick in here. I'm gonna chance, especially down, because I don't wanna, um, this to be, like, equal it from all sites. I just I want to use this. I feel light, Teoh make my shadows not as dark. Okay, it's to something like like that the world. There you go. Spring this, I'll be down. I'm gonna turn. We call the temperature. And for my usually for my cue light, I use one color temperature. And for my field and room light, I use the opposite. So if I'm using a warm light for this part, I will be using cool light for this So it creates. Ah, nice contrast. You can see warmer tones in this part and the blue in this part. Okay, so right now I'm just missing my rim light, which I'm gonna create with another a real light. So let's put it in there. Rotated. Turn off my normalize. And as you can see, I'm getting thes um, this super hard light in here, it doesn't really matter. I'm going to get rid of that, Um, in a bit. I'm just worrying about my room, like, right now on the model. So let's rotate this just something like that. Sometimes you need to exaggerate this. So it's super big right now, but I wanted to be affecting all the model, so it's OK and get out. Chantix. Push it on a little bit like that. China called temperature, and that's probably too much. So that's bring it down. So it's not. Ask Blue. Let's try something like that. There you go. And let's bring this intensity. I mean, exposure up a little bit, like so, creating these nice shadows. Great contrast. Um, is looking pretty nice. I want a safe before anything happens safe. Let's try, um, waiting a little bit for this, too. Clean up the noise a little bit. So is looking pretty nice. Cool. I'm digging this his model a lot. So to get rid of this like ah, it's pretty simple. We're gonna that rename this first l g t. Um, There you go, and I'm gonna go to Windows Relationship editors light linking light centric. And what this window? Well, let me or allow me to do is on link lights from objects in the scene. So this is the last time made. So I'm assuming that's Ah, the room light. And this, which I didn't rename, is my background. So I'm gonna on select that, and I can see nothing's happening. And that's because it doesn't. It has not received this information. So what I need to do is go to render update full scene. And there you go. You can see this light ISS actually affecting the model, but not the the plane background plane. Okay, we can close this now. This looking pretty nice. Now, this is just using the lambert material in my house. I want to be using Arnold materials. So for that, what I will do is first select my background right click, going to new material. And Arnold, I'm gonna use the AI standard. I'm going to rename. That's just a little history. I'm going to rename that to Matt underscore back ground. I'm gonna bring this color down a lot just to create contrast from the background and the character, Um, let's bring the weight a little bit up. And the speculator, I think that's okay. I don't want this to shine or have reflections. So for the robot, we're gonna assign a new material. Also a AI standard. It's gonna be cold, Matt underscored role, but or maybe yeah, robot underscored Clay, that's good. What I want to do for this guy is let's go for something like that for now, Um, let's bring this Pickler up a little bit and you can see it's starting to shine in this parts. And that's not necessarily one of one, or at least not as much. So we can play with the roughness to make the, uh, if I bring this down, you can see their reflections are, ah, super sharp. So I want this. Do not be that sharp. Something like that should be good. And bring the color down a little bit just to turn those reflections down a little bit. Something like that should be good. So this will be my clay render. I can also select. Ah, and a nice color doesn't have to be great. So it could be something like that. Obviously. Don't, um, years something supersaturated like that? It it actually doesn't look that bad. I don't love it, but it doesn't look bad at all. Maybe if I used another color. What if I did something like this? You should don't. But what if I did? For now, this time it actually doesn't look bad at all. Not bad at all. And that's just messing with the color. I already have my other values set up. I want this to be have a doctor that's looking pretty good. It's not my style, but I like I usually do something like so Yeah, let me show you what I would do in Dender. This, um what I would do is use a much D situated core. It's darker, more simple. Ah, that way you can get to appreciate the color of lights, but, um, for these, uh, something like that could work looking nice, But for this guy, I actually did like how it looks yellow makes it look, uh, very good. I like it a lot. Let me turn down this reflections down a little bit. So I think I'm going to stick with this color for for this guy and the black background creates a very nice contrast. We could also, uh, do a little that's bring this guy back. I'm gonna turn this off. Looks little more. Let's try something warmer like that. Or maybe something, uh, colder. I think that looks better for the contrast that's tryto there's one something like so spring this up and probably I want to, uh, bring my or is it and my dream my exposure up also from this guy? So it's a little back and forth for this process. Um, but it's definitely worth it. I want Teoh select or maybe bring this guy for their I don't like this being so close to the edge, So I'm gonna slick camera. Um, look all of this on look selected and bring it up a little bit. Something like that. Let's look that again. Look selected. Okay, so now let's just wait for it to be done. It's not taking as much. It's pretty. Um, whoops. Sorry I selected it. It's pretty grainy steel, so I want to go to my and this is not something you want to do before being sure that's your final render right so I'm really liking this. That's what I'm going to go ahead and put a my something a little bit up. Okay, So I'm going to do for in here maybe 34 diffuse. And that should be enough. I can bring down my bucket size just for now so that it will finish, uh, smaller squares in here. Faster. That way, I can start looking at some regions. It's obviously gonna be taking more time because of the samples, but it's looking better already. You can see the bucket size right now is really small. And actually, that's looking pretty good. I think I'm gonna live it. Let it finish to Dio are ambient occlusion pass and then put them together and photo shop. I might also make a couple of use, um, like from the value on the side view of model. But that's probably not gonna be in the video, cause I don't want you to, um, spend the whole video watching at my computer rendering. So this is ah, the process for the next or for those steps. I will only rotate the model and I'll see you when this is done. OK, Okay. So after living it finish. I did notice a couple things first. My size was not right. Um, remember to boot this in two K square so that we have a decent sized image. Um, read at the end. Another thing that is, I did bring this samples a little bit up once more for the bucket size and 64 again. And justice final tip. Let me redo this. So when I when it was done, didn't put this in one k for a second? When does done? Ah, I noticed this, uh, the home a two waas to, um, to perfect, if that makes sense. Ah. What I wanted to do is have it a little bit of irregularity, so it, uh, breaks the light whenever it hits the surface. So that's I'm gonna hold shift. And so, like this area to let it just render this this little area so it doesn't take forever that they hit play. There you go. And as you can see, this looks too perfect. Like, um, not even toys in real life. Looked like that, right? Like new plastic. So Oh, what I want to do is create a little bomb Penis in the surface. Not too much, but just enough So it doesn't look artificial. Right? So for that, what I want to do is, um, first for the image Teoh map into this model. Right? I need you. These. So what I did was combine all the old parts, went to UV and didn't automatic giving. Okay, This wouldn't work for texture ring. It's just for this little rendered trick. So now that I have my u V's done automatically, I want to go to the material. Let's and it all by type history remember, you have to merge all of the parts for this to work. And if you didn't had, um, combined, you would have to go one by one during this. So, after doing that in my material, I went all the way down into bump mapping click on this little checker. And then I wrote in here fractal. Right. So I brought this fractal and what the bump does it tries to simulate these, um, like this surface detail, right? It works with black and white, So the fractal like connected, which is these one will tell the surface to, um, make the black parts go deep. and the white parts pop out, right? It's not, actually, really. It won't affect the seal it It will only affect the parts we directly look at off the surface. But it actually looks very good. So right now we're not seeing anything because we have to update. Ah, the scene to have look, and this is way too much, you're gonna get any d off what it's doing, and it's just too much. So I'm gonna select my material, my fractal, go back in my image and my in my bum depth. I'm gonna bring dealt down 2.1 and you can already see this is working pretty good. It's maybe a little bit too much steel. So let's go hit a to go see this from a distance. I think it's too much. So that's bring this down 2.5. And that's actually pretty good. All right. It looks like I don't know how to describe it, but it looks much better. This irregularity on the surface, that's what I'm looking for, makes it look way Meriel. So let's do, um, the whole robot like that and see what it looks like That's check it out I think that the intensity of the bump is all right, but the size off the bump, it's, um I'm not liking that much. So we're working with, ah, procedural images so I can go and edit the size of this noise, and I think I will go into that go, Sam, not liking how it's looking the greatest too big for me. So let's go back into the image, and I'll hit this button to go back into my place to the texture. And that's what it this note is telling the texture. Teoh behave in a certain manner on the surface, So what I'm going to do is go down to repeat UV. I'm going to repeat this by three and three in U and V, which is eggs and and why in a to D space. And that should look way smaller. So that's wait for it to finish processing. Let's take a look. It looks way better. It's ah, very small. I honestly could make this five on five, or maybe six and six, and that would be fine. I think I will. Let's try six and six. That's just to this part. Remember, shift in drag that looks way better. That's what I was looking for. This small green. Let's do all of this. Yeah, that looks way better. So you can play with these values and the bump death as much as you want Until you feel feel that it looks all right to you. I think I'm just gonna edit the this value in here maybe point through all three. And I think that's gonna be okay. So just let's wait for the for little, um, bit to be done. Yeah, that's way better. Okay, so let me just stop this Render go to my render settings. Put this in two K. It's close. Whoops. That super big. And I'm gonna let this finish and see you in a bit. Okay? Okay. So after a couple of minutes, our renderings done, Um, I'm not 100% happy with it just because we're having ah, little noise in the shadows in here and in here. And it's maybe taking a little bit too long. It took like, um, a little over 15 minutes. So I'm not as happy with that or I would be if we didn't have this. So let's take a loaded. What's going on? Let me just say this. I'm going to go to file, Save image. Color corrected. And it's me. Look, for the I'm gonna create a folder named ah Out for all my images and gonna go distaste to one. So let's seem, um, gonna go ahead and put this in one que again so that it doesn't take forever. It's this. Make it smaller. Take that and let's go check the render settings again. No, this was too much. I'm gonna keep it in three on and actually, that's it. Let's go to our shadows and let's look for the sample slits petition to for all of the lights that should help. Um, I think that's it. Let's make a test. This part. It's to play. That looks way better. You can see it is not us nicey Let's try this part now. Yeah, that's way, way better. Okay, so maybe bring this to three. So there's ones and that one can stain too. Okay, So what I want to do instead of using these Arnold render views to output. My final image I'm going to do is save open this little I which is the Maya default. Grander view, which also works with Arnold. Don't worry, as long as it's Ah selected in here Arnold Render and it's go to render Render What's going on? Just let me so you can also right click, Render render It's like the camera before that, let's go to the settings. Just remember to tradition to K, and that's to render it render and really camera. Okay, so this actually won't stop onto its done and a couple off white letters will show up in here. Um, this should be faster, but, um uh, cut the video in here and see you whenever this is done. OK? Okay. So we can see to Ah, loveless time almost four minutes. And it's looking a way better looking. Uh, those results are way nicer than the ones we had before. So let's go ahead and file. Save this image. Let me just hit the little bucks and that saved the color corrected image. Apply. Oops, plainclothes. And that will actually save, uh, whenever you click on the undid right here. So seif image Let me just go to my folder. So that's rendering out and PNG's all right. Uhm, I'm going to save this Like, um, Brender underscored. Clay, I'm gonna consumer one, cause I'm gonna dio from all the views of this guy, and it's go ahead and open that in photo shop, which I have already opened. Here it's open. Uh, oops. Let me navigate through that. That's good here and in here. It's clay. That's the one. So we might want to do some stuff like, um, like, more contrast and moving yet just to enhance the final image I think I want to do before doing all these Photoshopped process is creating another render. So let's go back into my own. That's minimize this. I'm going to select these guy and these guy and I'm gonna I signed a new material and from Arnold, I'm going to sign the A I ambient occlusion. So let's spring again this and render. They should take a little less. And you can see it's only rendering the ambient occlusion as we already had a will. The settings right? It's looking pretty nice. Let me save this and actually what we can do is go to the meant she riel and probably let's turn this I p r. On to try to say this in real time. It's kind of like the Arnold or interview, but I like the your interview better for this, uh, real time rendering. Whenever I did my final images, I do it with this one so we could bring the spread lower just to get a little more of the cavities. Something like that should be good. And it's stop and a prop Orender. Okay, so it is almost done. Let's save this image us render. Hey. Oh, and that's gonna be it for this lesson in the next. Listen, we're gonna compose these two images in photo ship and, um, do a little off postproduction to our final image. Okay, I'll see you there, guys, but by 23. 05 - 01 PostProduction : welcome to this. Listen. So I have already opened this Ah, clay render. I'm gonna go ahead and open my render. I'm being conclusion. It's right. Click and duplicate over the other document. There you go. And for this we want to put the that we re name. We want to put the ambient occlusion on multiply And that way you can see we're getting ah , the shadows. Ah, little bit better. We're also able to turn the opacity down and work with that. Um, probably we want pay a curves on top of those. And I'm going. I'm doing a, uh, and adjustment that you're so that I connected those at any time. I'm gonna bring this up this down to create some contrast. I tend to exaggerate this ah effects in order to play with the opacity afterwards. So I'll bring it to zero and start working my way up from there. Something like that is nice. Uh, it's renamed this contrast. This is gonna be a vignette. I'm gonna so that my marquee tool do something like this. Invert my selection with control shift. I feel with black the filter blur. Gaussian blur Blair a lot. We can multiply this and bring the opacity down and start going up from there. I also like doing a let's do a curves We can call this rim just to create a fake cream light on the image. I'm gonna put this like that. Maybe a little blue. Let's turn the rate down to create a CNN color and in my mask, I'm gonna feel it with black. So I'm not, um right now, I'm not able to see anything. But whenever I paint with my brush with white over that mask, I will be able to see that effect of the curves, right? So I can edit those, maybe even wider. So let's do black again in the mask. Oops. Let me, uh, white eternal capacity down and turned this on just her body works with the pressure. And I'll start doing something like this on the on the edges. Just a fake, Uh, a room light. There you go. Something like that. Maybe even this and just something like this, and you can see the difference Looks pretty good. Maybe we could do this all the way up toe white, and it's always turned the pass it down and start working from there. That looks pretty nice. One thing I also like to dio. Well, that's work with living in a little bit more. Yeah. So this helps the through pond lighting a lot. - There you go. Something like that looks pretty nice. - Okay , so that looks good. Because also, make a, um, another layer for, uh, radiant or ramp. Something like that, uh, color Dutch. That's try to use other colors. Maybe something funky like this could work. Let's try something like that. It's the color Dutch. It's lure a lot Hopes. Oh, it's doing it. So that starts. Uh, I don't like that. That's this, but yeah, it starts selling the whole image, right? It's Chen this down me three just to give it a little nice color variations. We can also duplicate this rim. Um, that actually looks pretty good like that. A little bit more. Um, contrast. That's to placate this on. And I wanna selecting this mask, lure it a little bit, so it looks like kind of a glow. You can say that. So think like that work. It's gently scoff, and you can actually see this glow. It's to look at that top just for it to be more evident. Lower this a little bit. Turn this on lower capacity a little bit. Maybe this is too much to you can see. It changes a lot with this you can put in here. Actually, I'm going to invert the colors of this. I think it looks better. This is way too much. There you go. It's looking pretty nice. Um, just to finish, um, I will feel this layer with white. A newly your son. I'm going to call it noise or black. It doesn't matter. Go to filter noise at nice, actually does matter. And let's stood white feel turned noise, That noise, something like that. Let's do overlay for this and I don't like it being too sharp. So I always blower the nice a little bit. I think so, man turning way down like that. Um, using a photo field church could also help us. But on the top of favorite thing for the field chair, that helps integration of the whole image. Something like that could work. Or let's try a couple water. I actually like that. One can always turned the capacity down a little bit on. And there you go. This sexual looks pretty good. Um, that seek what it looked like before all of this things we did. So let's turn off actually, what I want to do. Yes. Merge all of this. So I contend. Enough. There you go. So that's the render for Maya. This is our final image. You can see it does look better by a lot. So don't be afraid to use photo shop for your images or after effects. It's all right to do a little of post production after finishing the render that just turned the sun again. Something I want to do is duplicate this clay render and put in color Dutch with our rapacity. You can see how it pumps the of highlights. Right? There you go. Maybe you've been just too saturated a little bit. I think I like it better. Yeah. Okay. So I'm gonna call this finished. I like it. A lot of the the final result. I hope you did too. Congratulations. And, um, getting to this final part of the course, and I hope you learned a lot. And I hope you find all these tricks and all these new tools who learned throughout the curse. You find them helpful, and you can find a way to use them on your everyday work. Remember, if you have any questions or you're stuck with something, let me know sent me a message. Even if it's not from this course, I will be happy to help you, Um, with whatever I can help. And yeah, I think there's nothing much to say much, much left to say Thanks again. And I hope to see you in future courses, guys, but by