Creating 3D assets | J3D | Skillshare

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Creating 3D assets

teacher avatar J3D

Watch this class and thousands more

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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

50 Lessons (7h 8m)
    • 1. Presentation

    • 2. 01-Intro - Concept analysis

    • 3. 02-Block out - border

    • 4. 03-Block out - Wood

    • 5. 04-Booleans Demonstration (optional)

    • 6. 05-Cutting wood

    • 7. 06-Block out - Plate

    • 8. 07-Block out - Plate part 2

    • 9. 08-Block out - Dome

    • 10. 09-Block out - ring

    • 11. 10-Block out - ring part 2

    • 12. 11-Block out - anchor

    • 13. 12-Block out - screws (addon)

    • 14. 13-Block out - screws

    • 15. 14-Block out - handles

    • 16. 15-Block out - gem

    • 17. 16-High poly - Modifiers

    • 18. 17-High poly - Part 2

    • 19. 18-High poly - Part 3

    • 20. 19-High poly - Part 4

    • 21. 20-Naming

    • 22. 21-Going to ZBrush

    • 23. 22-Going to ZBrush - part 2

    • 24. 23-Details - border

    • 25. 24-Details - border part 2

    • 26. 25-Details - wood

    • 27. 26-Details - Plate

    • 28. 27-Details - Dome and bolts

    • 29. 28-Details - Gem

    • 30. 29--Details - Handles

    • 31. 30-Decimation

    • 32. 31-Decimation - part 2

    • 33. 32-Retopology

    • 34. 33-Retopology - part 2

    • 35. 34-UVs

    • 36. 35-Grouping

    • 37. 36-Grouping - part 2

    • 38. 37-Prep for Substance Painter

    • 39. 38-Baking

    • 40. 39-Texturing

    • 41. 40-Texturing metal

    • 42. 41-Texturing metal - part 2

    • 43. 42-Texturing wood

    • 44. 43-Texturing metal - Adjustments

    • 45. 44-Rendering and exporting textures

    • 46. 45-Finishing exporting textures - part 2

    • 47. 46-Preparing for rendering

    • 48. 47-Rendering

    • 49. 48-Portfolio

    • 50. 49-Closure

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About This Class

In this course, you will learn:

  • To analyze a concept.
  • Different modeling techniques.
  • To work with different software programs.
  • Digital sculpting.
  • Retopology.
  • To create UVs.
  • To texture.
  • To bake textures.
  • To render your model.
  • To set everything for your portfolio.

Prior experience:

  • I pride myself of making things as easy and clear as possible. However, some basic familiarity with the software used will not hurt.

Software used:

  • Blender.
  • ZBrush.
  • Substance Painter.
  • Marmoset Toolbag.
  • ArtStation (it is not a software program, but you will learn to set your portfolio here.

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1. Presentation: Hi everyone, I'm JT and welcome to this course in which I'll be showing you how to create a 3D asset like this shell to see here, we'll start by analyzing the concept. So we have a clear idea of why we'll be doing. Then we block our model in Blender. While I explain the whys and hows of everything that I do. Next will go to ZBrush, had some cool details and create our high poly model. Who go back to Blender where we'll use re top of flow for summary topology and get our UVs ready for action. After that, we'll go to substance painter, bake and create our amazing textures. They will go to memory as a tool back where I'll teach you how to set everything up to have some cool renders. Finally, I'll show you how to present everything in your portfolio. So you have something to show off. I'll show you everything I do will five problems I will solve them. Will model scold, bake, texture and render our model. By the end of this course, you will have a solid grasp of the entire process which you later on, we'll be able to implement in the creation of other 3D acids. Are you ready? Let's get started. 2. 01-Intro - Concept analysis: Well, hello there. Welcome to class. I'm JV and I'm here to help you get from this concept to the, to a 3D model. The first thing we're going to do is to analyze a scaffold to make sure that once we tackle 3D, which I'm sure you're so eager to do that as I am. Once we tackle 3D, we will do it effectively. So let's briefly analyze it costs him. This is a practice that might take some time. For some people might take a few minutes, others a few hours, and typically you in a few days. But trust me, this is going to pay off big time because you're going to solve problems before they actually happen. So let me show you how this is done very easily. Okay? Firstly, we are going to regionalize. We're going to draw over a counselor to start identifying parts and started seeing and making sure that we know from the bigger details to the small ones. Okay, We will not miss anything. So we started with a border here, okay? And the silhouette this way is actually a very good guy because you show us how our moral halves to look like. Okay? And for example, notice this part over here, these mark that we don't see this bar over here, for example. Okay, these barber here is an indicator that hey, there's a piece here that is going to come out. And if you check the model, sorry, the concept. Okay, you will see, hey, this part over here should be long now so the tip goes out. But no, so long that it goes beyond that or so short but you don't have that tip. They saw dairy from the very beginning. You're starting a small detail that you should take into account. Okay? The next piece that we have is the word. And notice that I drew these black lines and it is because I have to remember that it's not just one flat piece of wood. These actually be for MPs of wooden one next to the other. You may seem obvious, but when you're modeling, this is something that you may actually forget or completely ignore. The next one is this part here in red. And the good thing about this, or the recent why we prove is, is because we want to make this station that the border is a piece. And these red part is IV for NPS, okay? And if you notice a point in the middle is not covered in red, meaning that is actually something else. Let's look into that now. Okay, so we have this piece over here, fully white. Let's look at the cancer again. Notice that the point is what is actually only these border over here. Okay. Let me just hide this for you to see it again. But the part in the middle is not a part of it. So here we're ready making the decision that this is going to be one piece and these parasites, so it'll be a different one. In addition, we also have this part in the back. Okay? Super important because sometimes we tend to forget we work on the front. I would tend to forget that we also have a backup of the model, okay? Especially this kind of concept. So here we have an indicator that we have two pieces that are very similar, but they're not identical. Notice here I have added these color. Okay. With that very same. These two pieces are similar, but they're not the same. The super-important, because sometimes we just ignore the Apollo is okay, well we have this over here. Oh, the opposite, we have ys over here. And then we just model one part. And then we do to be careful, the i1 is not exactly the same. They are very similar. So there are things we can recycle to call it somehow, but they're not exactly the same. We'll be done. We have these power here. Okay? And again, the distinction between collar cells, me, Hey, this is one piece. The spring, the mirror is one piece and the other part, this blue part is something else. And if I take a look at the shadow and the light here, I can interpret this and remember that the cars is about interpreting. Okay? Well, having a 2D costs about interpreting better SAT is like a sphere, is not a flat piece, is something that is round. So I have that par with air. And I also have these gem. Something important to keep in mind with this jam. Jam from it's a gem. Okay, is that it is irregular. If you notice the rest of the concept is pretty symmetrical, okay, except for these two pieces. But also the jam, these blue part is also regular. So the fact that we're drawing on top of that, okay, Is it may be we know that the tail that we can see, oh, I can now use symmetry for example, because this is something that is superior. And here I actually have to break symmetry. And finally, we have some small details that very simple to draw, very simple to model. Again, there are so small that doing the modeling process you might escape arise. So you want to keep an eye on that. So and would they be I used to draw everything you can well, not to drop it to paint everything you can paint over. So you have a clear vision. What you're going to do, how you're going to do it. And you can start solving problems before they happen or prevent problems from happening in the first place. Okay? So these are the costs are going to work on. I know you're super excited to go to 3D sum and I make you wait no more. Let's go to it. 3. 02-Block out - border: Alright, let's get started here. Way blender. The first thing that we're going to do is we're going to press a to select everything and click into it. Okay? Everybody persuaded to not buy because we wanted to fraud or to rapidly you. And we're going to bring our concept going to press Shift a. We're going to go to emerge and we're gone. What we want is a reference. Okay, so I have my chip cores here, and I'm going to choose Concept 1. A reference. There it is, okay? So this is a concept from contours and I'm going to do is this big G, Y and move this back. I remember that anything that I add here in the scene is going to appear or this target is. Okay, so right there, the origin is just fine. Shift a and get mash. I'm going to choose a plane. The first thing we want to start with is this border over here. Okay? Here are the options for the plane. I'm going to leave here an ally and an analyte to the world and we'll apply it to my view. That's why it's important to be in front or to graph two very good reasons while for this to work. Okay, And, oops, wrong button. And two, if I add, I'm going to do here just as an example. If I come here, I'm going to add the concept again, reference, but I'll do it from this view, not from view. Okay? It's just my concept of reference. It is facing the view. And I don't want this angle. And then to go to wrangle might actually be a little bit complicated. So front view and I start doing that. Okay, next thing I'm going to do, I'm going to go to Edit Mode, select my object, which is the plane AB to go into edit mode CTO are because we want to divide this and then go on to raise pretty much everything except for these two thoughts. Okay, So I said those two dots that I do not want to raised and I press Control I to make inverse, inverse selection x and then quantitatively vertices. Okay? There you go. So we're going to do now, is g zed and move up or does around there? And this one is going to follow. G, is going to move it. I'm going to lock it to any axis. There more or less. I wanted to be like super straight because there's no perfect. And this is something that will happen a lot of times. A constant is not perfect, so we have to deal with the situation, okay? It's not going to be tracing everything all the time. So in this case we've got two is going to select everything and press S for scale when a predator is z into skeletal z-axis and press 0, and that's going to scale them only the c-axis. And MS, it's not going to make anything a small, but it's going to make them a straight line. And from here, I'm going to start tracing. The way trace is the following. I just as e to extrude, I just threw that on that one vertex. I place it here. To make the curve. We just have this vertex selected. I select this one over here as well. And got press, right-click and go to subdivide these new vertex as g. I'm going to place it somewhere around here and get the location based on the alignment of this line over here and this line over here at this vertex should be more or less aligned to the apex of the curve, cultural shift B. But that's called tourism is gone. Apple the vertex. So look at that. Now is two. I have want to have to try to follow that curve. If I scroll up, my mouse will make a more vertices. Are going to be jars human add four vertices. And I'm feeling like this concept is actually running my eyes because of the white background of the paper about today are just going to go to object mode now. And I click on the concept. And I'm gonna go here. And I'm going to activate capacity. And not to reduce this to, let's say is your 0.3 depends on your monitor as well and the brand of your monitor and where you want your 0.5 or maybe one was fine for you and make his own house. Your point. And that's it. I'm going to click here on my lie because it's not a planet anymore than us choose Align tab. And I'm going to repeat the process scape. So I'm going to go to the our tip, select this vertex, sub-divide. Move this vertically is new for ethics here, more or less an alignment. Okay? And then consulship be get that curve I'm going to say is more specific and add on a birthday. Scrolling up. There you go. That's it, will I do it. You could also, with more basic like extruding and then good Here, birth eggs here another vertex on most true and clay student clean. It's also possible, no problem. Okay. I just considered that the first method that I use in it's somehow better because separation between vertices is for post more balanced. And it's already filed with the court. So it's doing a lot of things for me. Note this is probably hear even more complicated because you have one curve. You don't have an end in that you haven't learned curves. So if you have too much, yet, give more or less to half the curve, extrude here, and then extrude it, decay here again. It isn't. And it's going to move this one a little bit. Here. I'm called to sub-divide. Okay? So my vertex here, remember we just did the apex and make everything aligning piu thing. If you look at it and I don't think any, a lot of Burgesses and just kinda come to be so many Burgesses is just going to go to a minimum. And if it leaves this case, two are just fine. But these two flake, right-click, sorry, sub-divide. If this would be apex and defines a line over here, you'd be maybe a one more vertex, v golf repurchases. And then we getting everything done pretty quickly. Okay, So let us try something else here. Let's true. Going to go far this time. I'm going to go all the way here. This is fine. And notice that I have one apex here, another apex here, case just in case the apex is like the farthest point, the curve of the highest point of the curve. I'm going to sub-divide bees to fill this Azure certified, click sub-divide. And he got only one coming here. And instead of one cup, I won two cuts. Okay? You use this. Now that I've placed this way, one of them is one. If x is here, orbits around here, there you go. This one is totally off. So this just aligning here, the apex, it's more or less there. I'll talk shift B. And we can have more or less here. And we can move these. Because if you notice there's another curve here, the identity of the consideration, the beginning of me telescope is a little bit. And there you go. That's repeat that over here onto cheap b. And he's actually looks pretty nice because this part is super straight, so I don't need or abbreviations here. Okay? And from this point, which is my last vertex, being all the way, all can have it all the way here, but I'm just going to analyze my curve and I say k. So it's going to be until this point, more or less. Shift-click, right-click sub-divide of this. And there you go. The battle. Mighty bird is in my opinion, now will do just fine and just ultimately is going to be here. So they are more evenly distributed. And I want to move this vertex here. I want to call these how these sides. So if I press G a second time, just going to slide the vertex along the edge. That's actually pretty useful for often later on. And that said, we come here to the very end. And I put a here, unless it's not exactly in the middle, is going to leave you there. And voila, right now we need to do that on the second side. And there's no we're going to do now is we're going to use something called modifiers. We are modifier is a very useful tool that allows us to provincialized something that we want done. Okay. And is it professionalized? Because if we see there's no really working, we can just get rid of it and it's now gone to destroy our work. Let's click here. And I look for, look at all these modifiers. Lots of things. But let's go one by one, okay? Now bring the lights, everything. Everything. But we need the mirror. Okay? But if it's constant, it's going to mirror what we do everywhere you go. You see on their side over there. Now, remember that I told you that was not going to get saddled to the middle because I wanted to show you this a appraise, select this vertex over here, press G to move it, the cross. So there you say, Okay, More or less it say there are exactly one on top of the other. Maybe they are, maybe they aren't. If you notice here weft or scrolling up and getting close so much. And these are not exactly the same place. And we just call back there. So then I move this one back. And I'm telling you this because I want you to see this in this case in their hand. You might assume that these are accepting the middle on, I think they are. Okay. So how did we get that x hat in the middle? There is an option here called clipping. Well eventually we're going to use some more options here. Right now. This option we here clipping, okay, Sorry, let me turn it off for me. Show you here. G is separate scape side or make any changes. Clipping. Now press G. Now they're locked because it does, we're clicking thus. Let me go down here. And let me move this one over here. Super far away. I mean, we're middle, okay? Now, okay, symbol back. Once I click to confirm this, I can now separate them. You just move this one. There you go. So that's it. Bye. Instead of doing all the side here because C is mirror. And that said we'd use Clipping. Clip is called tutors at the moment would SAI? Yes, this is exactly what I wanted and quantify this modifier to make it permanent. We're not going to have the overdoses that usually created model. Okay? Now, something else that you'll want to do and what to get thickness. So what I'm not going to do is to start tracing everything again just on one side because it's going to be the viewer know, okay, we have to work smart, not hard by clicking this vertex and I click that the second vertex. And I'm going to sell this Shift S to move the cursor that is a target to select it. Okay, So it goes here right in the middle. So what this is doing is that it's going to select a half did was I should go here or I should also go here because they were both selected and I'm just going to be the middle. Okay. Then I select everything and then I press E to extrude because they were extruded the beginning because one BRD things I can extrude a group of vertices. And I press E to extrude and gone to scale. But notice the way this is scaling like this is actually going outside. This seems okay, but a little bit too much. Okay? And this is going to get to decide just not working, right? So I'm gonna cultural see these. And what, why this is happening is because it's taking to get all these vertices and it's making an average guy is not going to the centers, just go in to the center of the selected vertices. Remember that the mirror modifier is a, is a preview of what we want. So there's no taking those into account. That's why I selected these two vertices, added this course over here. And now and this option rehear it. And I said, Hey, my pivot point is going to be a 3D cursor is known to be BR, pressure both of them all. So at all again with a call to extrude and asks for a scaling and notice a difference, it's working better, way better. Okay? He's gonna move this here. There, I think it's fine. Okay. And notice this part over here, you might think, well it's still not right. But if you look at the concept, let me just move here to take a better look at a concept. These bar from this point to this point is with thicker than everything else. So those we do have to move manually. Ways to do this P50 to it like one by one. Okay. Then my nod care like sire result. Okay. Say that I particularly don't trust myself when the human aspect like to be really precise. I'm going to select, going to press Alt, click to select all these lines of Burgesses and an older, they only say that the ones outside, I'm going to press H, but H does, it hides. So don't get scared. If you press H by accidental, something disappears. You can make it back. I'll show you how in a moment. And then I say this vertex, because they want that I want to move. And I'm going to activate these options over here in the Charcot is letter O is proportional editing. And I press G. And notice this circle that appears there, the limit just press Escape. Change this to meet and points of view I can see better. And a President, Gee, and I'm going to scroll my mouse wheel and I'm scrolling up. And notice that circle that just appeared. That circle is the proportional editing tool. It means that it's going to move everything that is connected that is around that circle proportionally based inside the circles. Notice that I'm actually selecting one vertex moving Robert expert. All of them burdens are also moving. If I make a bigger things, we're going to move to. We're here. And then tau will be just fine. And you might say, Yeah, you know what, this now is way off. Yes. Ergo, we need to continue to trick him this I recommend proportional editing part for this. Okay, there you go. This are, you might say a, but you're actually here, not here. You don't have to be that precise. Remember, concept is a reference. We want to get as close to the concert as possible. While we're talking about 2D and 3D. So there is dimension of different dimensions that it's gonna make things not accepted the same. For this part, I'm just going to move these manually by Lee. And those who say find where they are. This one, this one over here and find this one here now so much. Oh, okay. There's also finding the ones over there. I don't want to have one that is proportional. This is just going to do it. Let us not accelerant of the line. I don't want it to the top of the line. This one over here, horizontal. Now, so I'll burn. There you go. Awesome. Okay, so you can't be as precise as you want. So I'm going to let you play with this. Okay, guys, you want to be more precise if you want to say OK, now I'm going to do it. Buret IGAD. So I'm just going to put everything right where they're supposed to be. You can do that. No problem. Okay. Now, I think in my opinion, that's fine. Here. It's going to look nice like that. Who here? Ever bigger. That's, that's fine. Okay. Now turn off proportional editing. We're pressing O. Remember the boy that it's appear, Let's make it appear so old age. And you go What we had hidden. Now it is showing again. So remember if you hide something, you use the auto erase it. You may want to press on page before kinda sprayed. And that's going to save you a lot of time just now. Okay. There you go. Now we have a nice flat what they meant well to their medicine border. But when you do the 3D, so let's give it some thickness. How are we going to do that? For example? Now save everything, not as Alice is that half because everything is being mirrored. Gee, why the y-axis? I'm going to move forward. Okay? Actually I'm going to press 7 to get top. You get an idea of how thicker one. Okay? So GY and a mover and a theme that's going to be phi is going to be pretty much double. Meaning. If I think into account, this is my pivot point for the mirror. Okay? So from this to this is going to be have her from here to here. We're going to have the other half. I think that's okay. In maybe you want a thicker, you can move it down bit more. Afford. You want a thinner Watson who is moving the stairs. Now. I want the mirror to help me out here. And I click here. Press Y and notice just move down. It goes onto that and said You just cause permanent and there you go. Have there the other borders vague. Yeah. Yeah. But the problem with this is that we don't have anything here. Right? So let's do that. Remember there were clipping. So the moment we put these two together, we're just going to let, you're not going to call one over the other. Then I press Alt a to deselect everything and then press two. And now to go to edge select mode, there were some weighing. Want to do that is because if I select everything like what's good Parkinson's, these work, these lies in the middle. We're also going to be selected. And also these phrases over here. I don't want that. I don't want that because that's going to create extra geometry. That's going to make things look ugly, even though we cannot see that geometry. They want to have spherical geometry or outside somehow spoke Alt Click, Okay, notice that I'm selecting mode. Shift, alt, click shift to add to the selection, or click to select all the loops, all the edges, and some silicon, nothing outside. I'm nasa, I think here in the middle. Okay. Eat to extrude why to log the y axis and then go back. You go, and then I just go crazy. Nothing bad happened because they're being we go forward. We're going to just get this as my limit because there are clipping them are modifier. And there we have our border. Moving onto the next part now. 4. 03-Block out - Wood: Okay, well we've gone through now is let to work on the width. It does get out of edit mode here. Let's look at the word. Here. Here we have a lot of planks on somehow. Okay. And we'll go from view. And I've gone to like shift a unengaged to mash and IQ. Okay. Something that had been mentioned before, they're measuring now. We just need the Q is smaller so we can see everything that we have in the scene. Is that the first thing that we usually do is to think what primitive, which of these primitives are similar to the idea we want to create? Indicator that border. We didn't have a lot of options. So if you think about it, because a border is like very regular, okay? So I created a plane. It just used the vertices, the vertices from the plane and a subquery in the border. Okay, for the blanks, if you think about applied the word within o and the license, and you will see it's just a cube. A cube basis Kelvin, why, for example, scale don't know why. It's called I and x. Scaled up in z. Or you go here, you have a nice black, right? We go to front view and we're going to use another modifier and we just go here and selecting everything g, x. I'm going to move to this side. I'm going to have this blank cover here. So if we were doing this in texts, for example, we may want to think, okay, copy and paste, right eye. We can do that actually, but we have modifiers, so let's use them. So let's go here to this ranch at modifier. And we want to choose the array modifier. But there were a modifier does, is just creates a copy. Okay? Now the copy, the rest of the configuration It's called to be created. Okay, so how many do we want? Well, what do I have tutorials? So we have 12. They say that ego and well done for these sounds. Well, why units based on this old does is it considers the width y units. And right after that, you can use either one. But let's be more realistic here. That's on the life things. But we put the things together, even though they are together, touching each other. There is all these like recently, 100% precision there. Okay? So I'm gonna move this. Notice how equals farther. So can I just this is a constant, the distance. Okay. Oops. When I press Shift, hold Shift, and ago I started scrolling this so I get more control over the distance that I want. Actually want 1. As for me, it's enough. Okay. I'll be DID mall to see what I have min notice there I have more spaces. But that's fine. If you want to have it totally together, you've got to do it. I wouldn't advise it though. The snow relatives another way are when you put when you create a shill, for example, and you create those two things together, you always see separation. If you put in exactly one next to each other, you will not be able to see separation. Okay? So let's go back to edit mode unless increase account now. Okay, we'll make sure everything is fine because sometimes we get like look at this part of the year. They'll like various small space over there. We don't want to we want to have that or you don't notice that I have a lot of extra. So we're just gonna replace g, x. Move a little bit a mode. And now I see that everything is fine. And as how'd, as how we make the blacks. 5. 04-Booleans Demonstration (optional): These problems is you make it the planks. Well, we're going to do now. I'm going to show you something though we're not going to use, but I think it's important. I think it's super useful in a different context. Okay, so I'm going to do it again for demonstration, but is not what I recommend for this particular situation. Okay? So this is more like a demo video of how to use the Boolean modifier. So you're just going to shift the duplicate what I already have. But this year it creates a duplicate. You have cubed, which is my planks. Cube 000 001 is macaca. So I'm just going to hide this. I don't want to see it anymore and I don't want to affect it either. And I want to work with this one. So the Boolean modifier, notice that I have here an array modifier. I'm going to add the Boolean modifier. Now with the Boolean modifier it this way, it's going to do is we're putting operators. Have you have a study program, for example, if you study logic and school, then you know what I'm talking about. 1 plus 1 equals 1 or 0, or 1 plus 1 equals 1, 1 times 1 equals 1. Something crazy. If you haven't, I say largely don't worry too much about it as a theory. Let's talk about the practical board. Okay, so what the Boolean does is, but this year it's in red, this is not working and it's not working because you need something else. He needs an object. Boolean does is the following. It's gone to combined geometry. It's going to combine objects, how? Well the economy today, the intersection H. So it means that it's going to get rid of everything as separate. But with those two objects, are those two elements intersect? Okay? It's gone to create union. That means that it's going to put those objects together. Well, it's going to create a difference is it says gonna pay one object and it's going to take it away from the other object. So let's go step-by-step to make this as clear as possible, I have the black selected, had the Boolean modifier applied to the blank for the planks. And it says operand type is going to be an object, which object by border. Just going to here together. The editor up here. And notice it is something crazy there, right? So when you have a problem like this and this is actually something that happened bad. This is like a nice accident because he was not planned. But anyways, when you get something there's no work in the way. Just put it to work. He's usually because of normals. Okay. So let me just come here. This part right here. This is a nice trick. Over here. You click beeper overlays, had you go to Phase orientation. And this is why it's not working. We want everything to be blue. We don't want anything read. Why don't we want anything red? Red is bad in this case. It is because of the normals. If you don't know what the normals are, I'm going to give you a very quick explanation. Let me just come over the plane where you got to play. And notice the plane is an object that is only two dimensions. Okay? Nothing in the world is two-dimensional. Even have a sheet of paper has some thickness, very, very small party has some thickness, okay? A plane has no thickness. This is possible because we are in a virtual environment. Okay? So since he doesn't have any thickness, you will see this face over here, blue. This is the front and this is the back there, red one. Okay. What happens with the pack is not taken into consideration. Okay. It's not doesn't exist. Okay. It's like, well, you see an object, okay. And you turn it around it, you don't see it anymore. It That's why there's nothing that is not rightly mentioned, those not two-dimensional in the real life. Let me just erased it. The other plane. Okay? So what happened here is that when we created the vertices a and then we extruded, some vertices were just written nicely. The computer internet. Okay, this is the fraud, So yeah, cool. No problem. And these other points, the back. Okay. You'll want to change that. We want to have everything same color. We don't want to have things like twisted or things that we can see in one part, we can now see that apart. And so you just going to select the border because the problem is in the border edit mode. And go to oppress a to say everything and I'm going to press Shift. And this now everything is working nicely. What happened with Shift Enter we're going to do it is recalculate normal, so I'm going to show the options here. It's only one option, okay? If I press inside. As we have, the meaning of insiders means that if you're creative, for example, a same area, a lot of objects, it maybe do not want to use the outside part. Did you don't need to create a geometry. You only need to create a nice insights. So you click inside. So everything that is inside that stadium for it is being normals are pointing to that direction. In this case is one where it's outside. So I just click on that. Okay. So I didn't mode. Now blacks are fine. Apparently. You don't know what's happening. It'll be honest. We don't see any difference. I mean, sure enough that blue you don't need anymore. Here's orientation. What happened here is that he created the friends. So it means that it took the border, right? Let me use hide it and cut everything. That's to the meaningful difference, which is called H to unhide, hoped, UNH ID. Why they want to backup? Because what I am hidden hooks Italy. So blanks again, intersection, everything disappears. So what is actually being selected, and you can see here, it because it is highlighted, is a point that is inside everything that it was intercepted between the plates of the border is going to stay. Everything else. It's appearing. The Union he has pretty much been creating the object is creating like an ABA has plaques and the border. Okay. Because it's slit fusing everything together. We would like in this case a difference. Now remember what I said before. This is not a best approach for this, is showing you how it works. Okay? So let me just we're ready here. Okay. We're pretty much all we did was that we had the plaza week added everything here. Everything is current. Okay. So we have blanks inside and we have like the extra outside, but it's separate. But what I wanted to now, I'm going to apply the modifiers in order not super important because the order here is important. What happens first is always on top. So let me show you a nice example why this is important. I mean, let's say the firms would play the volume and then the array. You see what happened. So let me show this. So what this did was for z greater volume only to this plank. And then the result is been affected by their race. This is why we have this. That's why it is so important. Okay? So here is working the way we want it away. Because now we're working the way we want it. In the same way when we apply it to make their means. When we say applying and five minutes to make it permanent, we have to go in order, go here. And then here. I do not have any more modifiers. And if I click on the planks and go to Edit Mode, then I think you just isolate this brace in slash button. This is permanent. It's just not a preview anymore to Superman. And there you might say, Oh, that's cool. Actually pretty cool opinion. Let me just call to vertex select mode. Okay? And it says that one I could just solve the egg, what is outside? You raise it and that's going to be fine. Yes. No. And I'm going to tell you why not? Look at this base, for example. Looks like a normal, regular face. If I go to the second mode. You will see here at this phase has 123456789101112 faces. He has well faces. Third topic TO sides. It has 12 sides. You know what that means? It means that we have an end goal and we don't want headcount says why this technique is not very convenient. If you want an illustration, for example, Sure, no problem. We can have an handgun. In general terms, we don't like handguns. Why not? First of all, not all programs work well with handguns. Later we're going to go to ZBrush, okay, to do some sculpting. This would just know show. We want to show at all. So there will be a huge problem. I think Substance Painter dancing, I said the angles either. So again, another problem. Some game game engines. If you're making this for a game, they went in and said angers, you. So you would have to triangulate, or in this case, you think for example, about this one over here. Vertex. If this one has fewer births, you has 1, 2, 3, 4 or 5. 6 has fixed six sides. Both an angle. You only want triangles. And we will practice, okay, Well said them. Who? We want a quiet four sides. If you think about it, it's not really necessary to have these here. So now we will do is start tweaking and modify every single vertex 2 or making connections, see what to raise for not to raise. So it is a lot of problem. It's a lot of work, is a lot of time that can be easily avoided. Okay, so next, I'm going to, let me just go here. X, delete this. We're not going to use it again. And here we have our renal blanks with array modifier. And next we're going to use, you're going to this many sort of way. 6. 05-Cutting wood: So how are we going to this in rehab? It very simple. We're not going to use anymore modifiers this time. This is just fine. If you analyze your situation. Something that lots of arche say and I agree with is that do not work on something that's now going to be seen. This is not going to appear. If you know for a fact that it's now gone to appear. And where are you going to make it, right? So let me go to Edit Mode. After setting the blanks, synonymy Go to object mode. So important if I'm in edit mode and it come here to apply the modifier I cannot buy modifier. Modifiers can only be applied in optimal though that I demoed. Apply. Oops, sorry my bad. Apply. That said, now we have World blanks. In the previous part when we try this with volunteers and it didn't work. We had a very nice cut and super nice, but let's be honest, not but it's gonna be, it's going to see that detail. I want to do some wide nobody's mentioned the detail is because the distance between the board and the plants will be 0. So there's no point doing that. Just in case I didn't mention that pressing Z, okay, I can select different modes to visualize things rendered which will, well not touching this course actually. Material preview. And we have materials solid, which is how we have been working so far until now. And the wireframe, which is like an X-ray radiation super cool. Okay, so where are we going to do? For example, we just watched some of whom vertices to the border. That's an XOR. Let me deselect everything old. A, let me press C. This C is the circle selection tool, which is like an evidence base inside the circle selected. I do this in wireframe view. Okay? Because it allows me to select the brightness is in the back. If I do it in solid mode, is called the solid circle. Click here and look at the back. Look, this was not selected. So be careful there. Z, C, escape. And I'm going to move this down another mode to a size. I don't eat tomatoes, I'm just gonna move it down. I'm going to put it inside the border on. That's enough. Okay, hold a C click here. Be careful because here I'm selecting the Burgesses from displaying and also this blank. Okay? You want to be careful. Now we put this over here. Looks okay. This lies got to be inside, but again, nobody's going to see that. So what I'm called to worry about these being curved, we're not just going to show on a scene Escape books g, z. And I'm going to do it here. So you also the problem in her Okay. Hold ain't seen others. It's this actually find me just just dump here. Being Z. Oops, I did this. I got a 1. D. You're all tied to this. Let see circle selection tool, g, z or down. I always click the Z because I don't want to move like this. And there you go. Let's see how this is looking so far. Well, you can see like something super small than nobody's going to see, but we're going to fix it anyway because I don't like to have that kind of geometry. And everything here looks nice. And one from VIA you notice we have a hole over here. So we have to proud, see how these hallway here. And we have some geometry that during high properly away. Let's continue with the bottom and that, we'll fix that. But don't forget about all this. Okay, We're done. Let's see what we have to have some problems. Notice we have some hole here, here at the small one. This one is really super visible him. And there was always that before. Okay, so first of all, let me just fix this one because it's super small and super obvious. Whoops. Here we are. Super small, super obvious and things are going to be subtracting MiSeq. Which one exactly? Okay, this blank over here. Let me just go z wireframe, C for circle. This can move it down a little bit. That says is we want to solve and can ensure that here I don't know, creating a hole by accident, I'm just go up to be in a safe side. And that's it. Okay, so it is inside this curve and he's also inside this corner. Is solid. Nothing's in their hand. There are no holes here. But let's continue solving problems. Decides actually may seem difficult, gosh, it's super easy because we don't need all that thickness that we can just come here. Lake, lake g, x, I would just move any words or less there. Okay? But obviously what happens if I go too far? I'm going to create a problem with someone when this is over, you reacts to not. Anyways, you fight goal too far. I solved the problem here. Run creating a problem here. Well, I have a whole, I didn't have before. So there is I may actually be the same thing because again, these are just to close. I wouldn't move this one and this snark curve. So are we going to do here is press Control R on trial is 12, is going allow us to do this. It means to create a cut. At the good thing is a whole car to loop. Okay, So I got here, I can move it now. He's going to press X and it goes, the card goes all the way around the plank, so we still have quotes. So as something good and see Lake GI, we just put this part inside of here. Okay. And everything else stays nicely. And then I need to do the same thing here. Okay, so regained control our images to be bad for you. Control are okay. It kinda scroll up and down by one more cuts. Okay, Scroll the mouse wheel. But you just need one. Click away up later somewhere it says they want is sad center, just press Escape. Old a. C for circle selection tool. Click to select boastful Burgesses, the one in front of what Frank and the one back. Sorry. Gee, I just move this. Okay. And there you go. I would say, well, we can see those whilst yes, because we're in edit mode where we call top-down mode. There's nothing of such. Okay? So we might meet some more of these, might not need some more of these limiters about is edit mode z. And let's go here. And sort of thinking what we need. Well, the, these, I would say I need to move this block up at the site, but another one side. So I'm going to get super close here. C, Be careful. Mccleary here. I means I'm selecting this black over here out this one. In the past we were selecting both g, z. Europe is not going to be affecting this one. And again, I repeat on the other side, c will be z and eta. And again, nobody's going to see this thing here is fine. Everything here it looks fine. All the Franklin apparently, I've been wrong. Check second time. We're here, for example, seal outside. So let me just come here and I need this black. So now second more carefully, beginning OSA think too much at random because you were falling better in most cases. But like the situation, I'll just move a little bit, is already inside. That's enough. Else. Have any holes. Also think, yeah, there's a whole year. Well here. So getting close all the way to the saliva already have selected C, lay here and move this one down a little bit. Even if a goal the way, it's really too dangerous. So I'm going to repeat the same process on the other side of the same plaque. So there you go. Notice here the edge is already inside, That's enough. I don't need anything else. We just continue moving and checking things every looks inside, inside, inside Good. This one is versus pull mass as pianos. So I'm going to take this one here. I say carefully this time is not selected D, Z and go down as much as they need to. Stay sterile inside. Look now it's inside. I can move this one if I wanted to. Not really necessary, to be honest with z. And everything, all loops inside, inside these bar over here looks too close to the edge. You're honest. So what we can do is be careful is that I can this making sure that the other side is not selected. You Z and still inside. And now we are certain that that is inside and better safe than sorry. Everything else here, looks inside, let me just look away. She'll look at everything and look how the border making sure nothing is coming out. And one thing that I don't like is this over here is going to see in a moment. That's it. And so it looks nice. So let's fix this bar over here. Oops, sorry, like this. To vertex 4, edge select mode, G, Z goes, going to move it up. Now we'll do, since I'm live water and then I chair making sure everything is fine. Everything looks just fine. Here is going to be there. Oh, this is just some tweaking. They want to add a router here. There's so many. Thanks Luke. Little bit more smooth. And that's it. Some tweaking that I wanted to do there. Just in case just because he drove like me that you want to be super precise the number of births in the UK. Because when you're creating the porters, not really important. Okay? So I use XML Burgesses here. You can use more, you can use, as it is important to think about geometry. But when you're learning, you want to make sure that you get used to getting the nice look and feel like this looks curves. I think that's okay. And you can see some faces. This is called being fascinated, overcome bad later. Okay? So that's it. We have the border and the planks ready to move on. 7. 06-Block out - Plate: Time to create the middle section in the middle, this one over here actually so precipice, very similar to a border that with the goal to prompt you. Actually it is so similar that we're going to use part of the border that 33 or 34 for face select mode. Lake here. Shift D to duplicate cape. So it gets placed into Saturday position. When I press P as in separate. Okay, hand, we're going to separate this selection from the art. So now that face is not there anymore. Dab for obviously had more and now we have our new objects, which is only a play. Okay? So edit mode and vertex select mode, one from view, z for y from you. So we can see what her do it. Okay? So what we can see here is that we have case for these produce over here. Notice I will duplicate something and they were separated. We also have the modifier. We don't think it will be modifying, it just duplicates everything, including the modified. So this is actually pretty nicely placed. Same here. You say these two vertices, Let's extrude now. Note is that first time I did this one vertex and then I, then I, I created the border. We're going to do differently. Thus, there's our contours are. 8. 07-Block out - Plate part 2: Something else that we want to do, like we want to close this because eukaryotes have we app like this plate, right thing over here. So first, I'm going to take only the inside border, Alt click that didn't dislike anything. There's old a to deselect everything. Alt click G twice because I just want to supply bad and not much. That's okay. That's going to be my thickness. So what happens? And then I select bordering the back, the boring the back is actually the border outside. And I press F. Okay, There have an angle. And what about that angle? Because we're going to fix it later where I'm blocking stage. If ANA and we use it and they will fix it. Obviously we've got avoided, we avoid it, but in this case it'll be faster used to that. Now, the inner loop F, or you go, why did I do that? Because I need to have everything. You need to have a thickness. And if I don't have a thickness later, it's going to be horrible. Makes no sense that these edge over here and these areas are connected at the same time there is something coming here, just makes no sense. That's called non manifold geometry. We don't want to have that. So just created some thickness inside, not much, but it is there. And we chose your alt click, OK, click here. In phase sack, moist, good, All click to select all the faces. My press H to hide it because I just wanted you to see that thickness that we created. So this over here, with this over here, That's it. Okay? And here's object mode. And that's it. 9. 08-Block out - Dome: Time to work on this piece in the middle here. And I'm going to do something that might not be respected if you've gotten their lives to concept who my interpretation does it additionally decided to give it. Okay, this is some kind of sphere because feared that has the gem in the middle and then he has a border. Okay. So like I said before, there we did with the planks, you want to use the primitive that is more similar to what you are going to create. So in this case it's a kind of have a sphere that has been March, they've been flattened. My thing. Okay, so let's use a sphere, right? I don't really like using this for years because they have a poll. Let me show you that very quickly. Shift a UV sphere and the pole is selected. The pause this, this is a ball, a vertex that has a lot of edges connected to it. Okay? I don't like that because when it comes to rendering time to create the final picture, it doesn't look nice. So it's ashamed to all of the width of the process. Thinking everything is nice and NTN to you don't get resolved, you're looking for him, just erase it. So instead what I do is I use a cube. X o says right, I use a cube and I use a modifier. Okay, so let's go for another modifier here and then modify the US is called subdivision surface. This one over here. What does a subdivision surface to? It duplicates the geometry of the device, everything in the object. At the same time, it is smoother. Okay, so let me just click here to show you. Notice that the mastoid is just for explanation purposes. Notice that if you look at it, once you have a cube, this is cube actually can see like this. Notice this face was divided in four, these favored volume for this phase with varying force, all the faces were dividing 4. So there it goes to subdivision. Now that was not the only thing it did besides subdividing this face and this face, for example, you also studied an average. You just study on average because tried to get here over it created an average. You create a curve. Obviously the curve is now super nice because he doesn't have enough geometry here. So what we're going to hear levels viewport, because you have it one more. Now it looks nicer. And if you look at it, is subdivided into four. And then he studied by each 14 again. So that's every level of consciousness and I think each phase, and it's called two sided by name for you. You don't want to go crazy with this. I usually go to levels. It that's enough. And something that could be mind is that while you have the modifier active, you know, you have monad. Forget, sorry, let me just scared of opt-in mode and the isolate. I don't know if that's a word. Well, yeah, as long as you have modifier here, okay. You want to have these two levels similar, okay? Because if you've gone to render whom Lander, okay. And then you put this in one where you come together. Result is this. You're gonna say what's happening because they actually have this here and is because rather views now, right? Okay. So keep it the same level. Or if you want to render view to be higher because you want it to be smoother. For example, this has how is quantum. And so what I do is I get a cube, I simplified it to levels, and then I applied the modifier. Now I have these beautiful sphere over here that has no poles. Are these ash called pseudopods? Well, but it doesn't have the ones that they're going to give you problems. Okay? All set everything a scale, this a little bit, front view, z wireframe. And let's get this over here. Okay? So it's not examined the middle, so this is your decision. You can have it exactly in the middle of you want to, okay, according to your design. Or you can be more truthful to the count, to the concept, which is my case as well, I'll decide so don't just going to get a GI. I've said that everything, of course, and I'm going to move this up a little bit. And then I scale down here, here, here, here, non-goal to scale only in the x axis. Scale x. Oops, just kill them. And there you go. So you said exactly the same noise, know exactly the same. Okay. So it is your decision whether you want to tweak it a little better using the proportionality tool, maybe you want to cut this in half and use a mirror modifier. In my case for now, just going to leave it like that. And if you notice here is z solid few voids filled both sides, right? Notice something else, something that wireframe you MBA to be mischievous. This is our limit. So if we're counting on these other edge, on the other one here, we're actually not getting the right size. Let me just focusing on this one. Now this year. Okay. This is the one that we care about. So that's the one we care about. That's our reference because everything else is behind this piece. So let's thank the everything. Keep these looping mine scale. And that will be nice. And we'll do use Flash. Now. This part of the back, I don't want it. I don't need it. Okay. But wait. Is this looks like around and my interpretation of the causes like it's actually flyer. So scale y and we scale it a bit. And notice that we're still, we're hiding again things. But don't worry about that is G, Y, and we move forward. Okay, under egos, looks nicer. Now, let me isolate this so you can see clearly where I'm doing. Are spheres ready or half a sphere? The other half is extra. So I'm going to Alt click here to select all these loop over here. Notice, I'm sorry that everything okay From View. So I just want to be well oriented. This is the back, this is the part that I don't need. I'm going to place my mouth, my mouse, sorry. And I place my mouse and displays. I press V. And V does is to rip the geometry. Click to confirm. Okay, I have this vertex that I did can be any vertex, this one already. So north as ever, I'm going to press Control L. Or Control L means select everything that is linked to that selection. Okay, So that's why first I ripped and then Control L having select this. Let me show you something. Here is now RIP. If I place my mouth, my mouse on this side and then rib. Notice that I'm ripping Is this side. So the position of the mouse is important. Now says here, V repair lake to confirm Control V, to select everything that is connected and it's linked X, delete a, bring everything back. And there you go. Okay, you notice we have this over here. We have few options. We can move these edge to the thickening of that we have inside or we can move this to the blanks. Okay, right now, we're now focused too much on that. Okay. Let's work on this border now. 10. 09-Block out - ring: Let's work on this border now. How are we going to do that? Well, very simple, since he has to be some Waterford this piece you have, you should have the same shape. We're going to use the same geometry is where you're going to brush over before we go to Edit Mode, regard to select a loop that we want. Now, this is super uncomfortable. I can do it here. But I think three Z wireframe. Notice I can see the thickness here. I can take this again, press in G twice to a slide. And I can place that inside that thickness. Scale y 0 to make everything flat. Okay? And that's it. We have that over there. So it's not going to bother anyone anymore. I'm going to choose B that okay. I'm going to press B, selection object mode. And I'm going to click here. And notice there's my selection, Edit mode a to select everything. I haven't gone to, ride away in y. And notice here that I know now because looking at it, at, that I have this outside and that's it. From here, I'm going to create is mortar. So again, analyze more or less how much thickness I wanted to be. I wanted to have GY. That's okay for MI and stroke scale. Let's just take a look at the reference because we have it there for a reason. Okay, that's nice. Okay. And now we're gonna go back. Extrude why we go to the back. Are you guys ready? But notice this detail. My interpretation is that is some kind of tell that in words. So I'm going to press Control R to create that edge over there. I could have created to the things that I've created two are equally separated, and I don't want that distance who actually a smaller distance, one way escape. Control B for bevel. Notice I'm going to reduce this to scroll down just to get one section there. It can make a beaker where I can make it smaller. And until like that in my opinion, I think that's enough. Okay. Three Z wireframe so I can see where I'm going. I don't want to go all the way here. So Extrude. And I will be just fine. Look for the front of democracy. What I'm doing, I was sending it looks pretty cool in my opinion. Okay. And answer. 11. 10-Block out - ring part 2: We're going to do now is to create these details over here. Okay, now, what do we really want from this? Because the thing about too, these are, can be much do everything you want and says you can even give it a minute. That's why we have abstract art by wake up to 3D mode, sometimes, rarely limited depending on where we want to do. So. If I look at the concept, goes here as Period, better on the concept. So we enter with this as our old is an anchor, fine. We have two options. One, look at this, something flat or make something very simple, very flat. We don't really agree to. And we like, or we can make it more circular. And I think that'll be a nice example. And I want to make a circular one. I want to imagine this is a some kind of tube, right? There's something flat like a very elongated cube. Okay? So I'm going to do it like that. And I'm going to show you how to do it. Now, if I'm thinking of a circle, these ABA here is the diameter. So that means that this distance over here is also available from this point to the back, which something that's more difficult to see in 2D, right? So let me just come here. And if I look on my gossip, I'm sorry, not ohmic acid on my work. Has it. This is my opinion is not thick enough. Okay. So I'm going to go to, so I'm going to go to Edit Mode three. So it faces alt click, shift, click. And since this is, I think it's nice, nice chief. Late, sorry, shift. All click here as well. And I'm going to move those forward or you go. Okay. Something else I don't want to happen is I don't want everything to be hearing this. Okay? So we'll draw our loop now a slight it, and I'm going to place it here. There you go. So let's start with the one on top, and that will be easier. Here. I'm going to go to edge select mode, alt click. And I'm going to teach you how to create a cylinder or a circle based from this control B, one, that this is too much going to be my thickness. And now Cultural are going to get three. But escape. Good Y right in the middle. 1, 2, 3 cuts right in the middle. Okay? So what I'm going to do, one more vertex like more Alt H deselect everything. I'm going to click right in the middle. Ok. Control Plus makes my selection row, OK, select more. We're going to do that twice. Okay? And I have selected, we show exactly how many is click here and 2.3, right-click. And Senior statistics here. So we have all the features. I have selected. 16 faces, they have sex and 48. You have to say that 25 vertices. But what I'm really interested in is the ones outside and 23456789, 10, 11, 12, 13, 14, 15, 60, and Burgesses. Unless 16, for a few reasons. One is divided by four. So it's gonna work wonders with quality. We need to use them somehow. Anything that is 12, 8, 16, 20, 24, the world like a charm. Okay. So that's one reason why 16. Okay, second, I know this is not such a big P tail, so 16 is going to give me a nice number of faces That's going to make it look smooth enough. Okay? And now something super fascinated. Okay. So I'm now going to press I as an inset because what we do is that instead, and we move this just a little bit at the end is not that important because we're going to use very nice adult. So I'm going to right-click and I have these options. There is something that I don't have. But notice you that the first option is sub-divide. So let's add an atom. We go to Edit Preferences, Add-ons. And one cool, here we have a bunch of arrows, a couple blender, but they're not active. You can activate them if you want to. Do narratively all of them because I think that's going to consume a lot of memory. Just go for the ones that you use. Some of them wouldn't you will never use it. Oh, you can actually all p, which is what I'm looking for. And we're gonna get this look tours. I just click the check. If you want to look at this, it gives you a description of what the add-on does. Description here you have the location and that's gonna give me the crash course. Okay, so i, i activity this, my options here have autosave preferences activity, so it's going to be saved automatically. And now we're going to right-click notice before we sub-divide now we have looked tools. Seal with me after a store or anything. We're going to select circle and look what it did. Let me just get you closer. They're nicely. Oops. He created a circle on it, so I didn't have to move bird for Berkeley secreted nice circle. We're going to scale that circle. So it fits inside this surface here. And here I am Z, wireframe and k. And you pay attention my circle to the right size are things gonna give them problems anyway. So I'm going to work with this and then we'll solve those problems. And goodness true? Asked a little bit. Okay, Now will be enough. And I'm going to extrude again, go all the way up. It's true. Sorry. Extrude. Where here? Scale up, scale down through scale and extrude. But anomalous can manage, tell you why animals so zinc solid. Well look at this. And the problem that I told you about is that this is actually getting inside because I didn't have I didn't take enough space for millionaires. Yep. So what I can do here is three z wireframe. And I'm going to select what, I don't want to select. This over here, this one in the wild to stay there isn't something easier. Let's now get complicated. Old a2 said everything, gee, why amorphous forward, we make sure that these over here is outside, okay? And the only thing that we move that within a word to move with this, you just put it back Gy, after having pressed Alt click, Of course, we select the loop, put it back inside, and there you go. No problem. Slave Misko collision that was easily solved. Now why did I do this? They'll usually we have a lot of progress when it comes to this kind of sharp tips over here. Okay. So let me just have a like that for a moment and then I'll go back to it. Okay, let's think about, okay, notice that this part over here, but you must have same thing, but we have to do here, then we have to do a here. So what I wanted is gone. I'm going to go for, I recall this wireframe mode. I'm going to select this in the middle here, up and down because there's no connection in the middle. So I have to make separate selection. And then I place my mouse and decide v to rip. Okay? And I make sure everything is working fine. Yes, this is separate. This is exactly have control L X million vertices. Now only happening now. And when we want to use now is the mirror modifier. Where is it? Here it is mirror modifier. I'm going to press a clipping to make sure I don't have any problems. Okay. So here's a you know what, I'm going to go away and go to work and going to work on this part first. Once I have everything ready, again, apply the modifier are not apply before. Okay? Because obviously need to work on this and not going apply it later because it's going to make this far more difficult to work because of p. What reasons and other stuff? Yeah. Okay. Let's move on now to the sides. Come here from view, z wireframe. Okay, so notice not going to be exactly the same position because originally placed is exactly the same. Okay? So it's going to be here. I'm going to do the exact same thing, Control B, okay? And now that I'm make more cars or anything just down the thickness, I will do just fine. Z solid because it was solid. And I already have the cosine neither here. I need three cards here. There you go. Okay? And I'm going to use like here, gone to plus. And there we have our 16 vertices, the border. Mostly a total of 25 were selected. For inset scale down. Or when you insert it, you all already have gotten to a scale so you don't need to press anything else. Right-click, look tools circle and was killed out this circle. I'll be just fine. Front view Xen wireframe. And we extrude a little bit and tell you why later. Don't worry about it. Don't sweat it. We go here. And you notice I said this is 23 compared to just select contour plot to select more and grab. And so slightly, just to compare your mat press Escape to undo this versus slightly bigger. And we want this control C or their stuff scale bit more, scaled down. And there you go. You. Now with Extrude little bit Control Z or they are blended. Review answering something by accident. You can cultural z that too and you have your selection. Or if you select something by accident, you can also control C, extrude little bit only, and extrude again. Stroke, Scale. Now eyeball, this will be nice. Extra. There you go. That's it. And well, we've gotta like this as well. Okay. So let's make sure everything here is fine and look is nullified. Unfortunately, it's not fine. So as we can do well, we can actually continue moving this forward are within that is so convenient anymore. I'm actually going to go to this piece over here, three, face select mode or Alt, click here and this edge to select the whole loop. And instead of moving everything forward, I'm going to make this background literary. Gee, why? Missy, how this looks. So it looks nice. Let me check the concept, the pressure we can have from the concept. It will be like a little bit thicker. So let me just go here this much and we come back here. And what we can get this smaller, but now we actually need to move everything forward again. So 3 sine of u, z wireframe select everything and prefer to work with vertices when it comes to this. And we move things forward. I think that should do the trick here. This is the line. That's fine, may really be backward. That's okay. I'll was again, we select this G. I will put it inside. Okay? So we missed this one over here as well. You'll see you're curious with everything. Yes. Side view. I will also present R1, which is part of a here. Proud of that this is generating is this space over here. Okay? So while one who will need to adjust this in a moment, okay, That's fine. Much, but a bit too much, maybe another time. Okay, so it will look our concept. What else we need? We also need this part over here. But the problem with this part over here is that we have a mirror and I'm working with only have of a cylinder is a little bit complicated because like I said, P1 reasons. In the past. We would click here, for example, I'll weekend control plus everything. You grow our selection. And then we will list killed. Everything will go to middle. In this case, it doesn't work like that because we're missing these vertices to have the average. So there are a number of ways to work these around. We will again have in keep them the mirror modifier. It, I'm used the cursor as we did before when we started this. Or we can apply the mirror modifier territory as soon as a course of this time. Actually, let's not use the coarser because I just remember that we need to bevel this bar over here on the bed was now in a work. Because blender, this is exactly this type of shape. And thus no we want. So let's go to object mode. Let's apply this and says, this is NAG in my eyes. Incredibly. Just going to enter edit mode. A Gy. I'm going to move this to a more convenient position. K, z, wireframe hooks. We want to do that. And I just want to make sure everything else is fine. And put this over here. How we can scale it is accumulating the sphere. And there you go. That's fine for now. No, it's not my point. Let me just again, the artistic part of this is to have some tweaking every now and then here, going back here and look at it now. As you can. Good, Let's overlay apply the mirror modifier. So let's go here. Let's select that edge loops, arrays elected how Tesco Control B. It does space over there. Otherwise we haven't something we're able now onto our 123 cuts scape to have the right, the middle vertex select mode. And click here, Control plus T, inset. And right-click look tools circle. And now we make our circles small enough. Are we going to do now, stood just a little bit. Now front view z wireframe. And we're going to follow this through it again all the way down here. Let's see, true. That's true here. And once more. Okay, Now anchors a little bit confusing. So we're going to do something slightly different. What do we want? We want to get geometry, the side and this side. Okay? So solid mode, face select model, sorry, it's three or four or five, you know. But really, what I had in mind for face-like mode at the theater was thinking up hurriedly. That's like here, here, here, and here's where it's selecting for. Now, control three, you go to the opposite side. Shift, click, click, click and click. Ok. Now from here, hey, are we going to do first? We're going to notice here with scape, be careful we'll use through them press Escape. When you inset or where due to some actions and then you press escape, the action gets canceled. When you used to it and press Escape, you actually stood it. You're still a student. But the geometry landed in the SAT, same place where it was. So if this moment we have duplicated geometry. So what I'm going to raise and I'm going to press scale x. And notice how the geometry is actually coming out because he was there. Let me press as eggs 0 and notice how everything now's together. Because again, it took the average of all eight faces and thus not what we want. I want only the Irish for me here. And these four over here independently. So I come back here. Individual origins as x 0. Now they're flat, one from view z wireframe to see what I'm doing. Okay, extrude. And since I have this still selected, notice that now they're a string individually. Leading happen at the beginning. Let me just scale and X a little bit too. We just come back here, medium point scale in x because they want to get back here when I call this, move it up. Yes. A box select pressing be vibrates only be you get bow select tool. We can see much of a circle, but it's a box. Or rotate this. And I'm going to extrude. Oops, sorry, rhonchi. E for Extrude. And then I grab it. Rehear rotate as well. Like you said, like mark over here is in middle of the faces with the admin over there. And that's it for now. But it's the same thing with the other side. So bucks Gillette type everything, ear, box select. I'm going to press the the, the click with the middle click button, that is the end your mouse to scroll wheel. That's a button as well. So you press it as middle click and you let go. So when you have backslid and also when you have circles that I do, you can select by pressing click, left-click, and you can deselect by pressing middle click. Now coming back here, I rotate. It'll be the same thing. Oops, and one is true. And now I place, I'll rotate as well. Obviously this is now being 100% c medical those fine. I can later on change that. Okay. So what we're going through now, two for edge select mode, we're going outside this one over here, and I move it a bit more. And now what I'm going to do is vertex. Let me not confuse your circle. All these vertices m, merge and merge them at the center. There we have our first. And I'll click to select Order loop control B because I'm beveling edges. And now I make this too much habitually my opinion, Let's reduce that a little better. Notice how he knows too much because you have a lot and then you start scrolling down to reduce and just see how pretty much the same shape. That's fine. I'm going to Alt click here. I'm going to turn this on. Porsche edit tin, add the motor heavier is sharp. And I don't want to move the tube in the middle. We're going to scroll down. This sharp doesn't work well. So I'm going to change the mode here. Smoothies that regard the one that we have for the fall and see how that one works? It works. Okay. There you go. Here's one over here. Hold click. I don't thing now this is not going to help me and I have to do it without proportional editing. So I want to rotate this a little bit and additionally better. And this one's going to follow. Everything else will say just to say, again, repeat on the other side. We're going to do something else. Yeah, I'm now using remedy if I wanna show you something else. So what's going to do individually? Bone does have everything nice and symmetrized and that's a keyword here. And then I said everything. Then I press F4, oops, sorry, not I4, F3. And that is the Search option blender, okay. He allows you to look for tools when you don't know whether you are, you don't remember. We're going to look for symmetries. Okay? And there you go. Just press S. Why are you ready? Have symmetrized right there. Then I click and notice what happened. What I have here, capillary here. Well, not really because it was the opposite. It whenever we had a year. And the side here in the options we have the direction of this symmetrized is minus x, 2 plus x. So it's almost periphery, but who actually want the opposite one from plus x, two minus x. Okay? And notice now we have everything. We didn't need to use the numeral really fire. Okay. So there you go, everything, but we don't have tips or less are working on those steps. Okay. 12. 11-Block out - anchor: Okay, in general terms with the tips, or we can do is just select here we add and then merge center that we have a tip reading mission accomplished. Okay? But in the future that's going to give us some problems. So maybe not as we have a pole here and thus a reason what we're going to have problems here. So we just got to see that even though we can fix it later on, I just going to want to do right now. I think it says a lot of time. It's, i just going to Control R to create this edge loop. I'm going to put these edge loop right here. So close to the bottom. I've gradually descend with all of them. So notice that I'm doing the same process, all tips onto our residue at the bottom. I don't have to be precise on whereby that can actually have it in the middle. You'll want to let me just do that it just for fun here and assuming here as well. Now I'm going to select this contour plus select everything again, m, merge and center. Now what I'm going to do is turn cone to, I'll click that edge. And I'm going to move it. Now. I have to press G wise. Okay, I'm now going to move it down, go and get it close to the end. Usually what I do is I go back and then encode globes, get a more accurate shape. Why does this DO N'T first is allow me to have quality or bunch of quiets. All these are quotes, nuclear habit, but we still have the poll, but now it is so small, there's nothing up causing problems. So let's do the same thing with all the other science. Entrepot. Am at center and G twice. And that's it. We have that right there. But this is why I prefer to go G, vice, back and then forth. See, you don't have that fast. The part that you had before. Why not? Because what it does is that it left this part a the shape, the right angle for the tip, and then everything is flat. But if you don't let it do that, what happens is that as taking angle from both sides. I don't know if that's clear. I think snaps from birth. Now to explain that. So I don't line just when you integrate out to you, before you merge, everything may go and edge get put at the bottom, entre plus merge and center. And now take that edge and put it close to the top. Okay, and that's going to help you big time. Well, thank me later. You will see. Okay. So let's see what else we're missing. Okay, so let's work on the crews who were heavier next. 13. 12-Block out - screws (addon): For this cruise. Okay. We have a lot of options to be honest. I did mode. You just press period to focus here in the current sadness. Look at the case that in fact, let me increase the opacity here. Or the concept for this Cruz. We have a lot of options, okay? We can model them or you can use an Adam. Here's some NADH and I'm going to show you how to 0. And I show you the installation of the add-in, and I'm going to show you how to use it. But another, I use that for these bright. Okay, So this is more like a demonstration. Let me reduce the opacity back to 0.3 because it's more cut off from me. And let's go for another and it preferences and atoms. Notice here once you have the loop, we're not gonna use look anymore. Are we going to use now? I'm just going to write here bold. And he says Add mesh bolt factory. Okay, So what is this doing? And we just showed you before, you're not cheating or anything here. So I'm going to add an object, shift a mesh. And I only have these options over here, the primitives and have the grid and have the monkey, which is something called from matter. And image merge curve surface or you can screen captured there. So if you are not really edit preferences, I gray bolt, mesh, bolt factory, I click it and you can see what it does. Well, it's actually add mash. It says Add a bolt. We're not unbiasedness useful somewhere that I was not so much. But I wanted to have this in mind. I close it because he says automatically shift a. Now in mesh, we have one more option. We have bolt. Okay? Notice that huge boulder we have over there, okay? And we can play with this. Okay? So we have bolt will continue to or not. For example, now we have the knots. And what about the size? Because we can always scale. Right now we can change from x to lock that we're going to read from LA to 12 in looking at them. And, and the thing is more reasonable and bought a really long. You can play here with a lot of options. In here changed and what can you get bad? So it's nice, like it gets you things done super fast. Okay? And we have Philips, which is actually something very similar to why we need eukarya. Actually say, okay, let's use this one for example. The problem with this is that a gold editing mode and look at all that geometry has. And even this part has a lot of geometry. Okay? And if you think about it, if you look at your concept, is something very small, I'll come, you're going to spend so much geometry. Here you have 2535 Burgesses. Okay? I'm gonna erase this. And I select numbers a to select everything. Then I press Edit Mode. So I'm going to press it up somewhere. I need to explain what happened here. I press aid to say everything. But I need to select like a main object that is called the active objects. I'm going to press Shift click. And it's going to be this one just because now everything is in edit mode. A to select all Burgesses. And notice here they have one hundred, two hundred and thirty one vertices in total. Okay? So have more vertices in data. We want the bolt hole shield that we are working out. So that's why I don't think it is convenient. Just want you to know that there is this add-on for bolts and nuts in case he can becomes convenient to you. 14. 13-Block out - screws: Let's now work on the way I will do this bolt I should, they are screws. Your lower legs cruiser. Let's see. I have them in like a screws. Okay, so let's set an object similar to the bolt. So we need it's going to be a kube control to until two is a shortcut for this solution Surface Modifier. So if you actually caused this and you press Control 1, you get this artificial surface modifier, but with level 1, control three. Okay. I think you get the picture now, on-prem four and so on and so forth. Okay, so I'm going to use Control 2 and I'm going to apply this. Okay? Why? Because you're gonna say, okay, so a cube has no relation with his crew, the sphere and well, not so much either, just maybe they're the head, but their head is only point that is visible. So that's the only Pi care about. Okay? So I'm going to isolate this little coffee you tap to enter edit mode. I'm going to take this loop. We're going to place a mouse and the side V. There you go. Rep L, x, believe Burgesses. Now, we want to do is to have that hold that part of the middle, right? So I'm going to do here is if there's control, be too much, just need that. Okay? And I'm going to select in face-like mode from here. And I come here and I wanted to do everything from here to here. Control-click on its legs and the shorter, the shortest path. Okay? And there are different ways to do this. One I can extrude. Okay, Then again, scale. I don't really like ours, so I'm going to press X believe vertices. And this is the one that I prefer to use. So how do we use this? Well, for it is that at this, I go to Add select mode. Click here, we're here. And f, greater face, nice face. I select everything here. And everything here looks Shift-click. So Shift, Alt, click, press F. And now I have got, but if you notice we have an Angolan have an income and we don't like Jenkins. So one vertice egg mode at this vertex, this vertex j. And what it does is that it creates a connection. One diverges from diverges using it. There, there are phases they can cards critical section. I'm gonna start with the one in the middle. So it stays in the middle. I try here. Not excitable the middle is that the edge? And you twice to a slide. I don't want to modify them. The shape that I don't like them. What I'm going to do here, well, actually, I notice I have a query or have acquired a year and have equality here. So there's nothing I need to do there. So I got is, I'm going to say it everything. Control F3. Oops, sorry, wrong button there. Shift that, sorry. This this is a laptop. It's fashion F3 in my case. You get the menu to me tries in the wrong direction. There you go. And that's it. I did it because they wanted to because I could not because it was anything special I had to do was to bring us to where it is. And there you have a head of yours Cruz case. So everything is scale in y and there everything that is behind this. It's not going to appear, we don't need it. It's going to extrude why those to give doesn't get any better. And that's it. Okay, so I'm going to get out of local view by pressing slash. Everything is back and this cold front side, everything is scale. And just z wireframe to you and it's replacing everything. We just placed this one over here. Is scale. This exercise. I rotate, it goes to give this bee friends the mean. You see suddenly we are a bunch of his crews. They are not pointed the same direction. They're all different. So I think that's still to 0 is, see here. Besides the fighter is way too far. The thing, the size is, you see the size. So maybe concerned about the size Bob, or by the size. And we're gonna make it be smaller, things too big there. And endless. You start placing things where we think most convenient. Okay. Put this one like this. Why is it here? And actually, I noticed that there's actually two big but I'm not a change in size right now. Just straight like that. And things are and then rotating it, I'm not going to change the size right now. Could go there. Scientists were using runway fire for that. It just going to select everything here. Individual origins. Okay, and now I can scale with our moving thinks if I don't have that selected, but instead I have medium point, it's going to scale this. Cruz would also point to move them because his goal for the average where all the vertices are. So I don't want that control Z. Individual origins and highest killed or screws being three to find our position, I notice as I'm way off, it just kinda look at one and I can move all at the same time. And I think that's enough. Let me just get closer or beat more willing to hurt. And that's okay. Object mode. I'll look at them. They look nice if you want to place them individually like this one, for example, if things to check in, verifying everything. Okay. Okay. Good. In my opinion, and score for a mirror modifier and burlap. And we have are already there all we have all our components except for the back. 15. 14-Block out - handles: Okay, so for the back, you go to this, actually, there is a lot to do in the back because if you look at this, we already had a border and everything. We have the bike, so we only need this part over here. So I'll just go to front view. Yes, front suitcase. And confirming that we're going to focus here, I'm going to work and this bar here. Okay? So these shapes, they look like whenever I get cube, right? And a little like a cube. So and what do you secure? I mean, I'm not gonna go for nuclear science here. Like I've done before. Say the cube, edit mode, scale, G, Z, ring down. I'm going to work here and I'm going to forget about what I have up there. Okay? Z, wireframe and income to start moving and adjusting my cube. What I need. So I'm going to kill and z and down that is GZ. I'm going to close here and scale in x now. That's a thing as a KG x two, etcetera, better. And I'm going to scale like this. Now, if I go to aside the thick and I don't have a specific value, so it just going to eyeball that scale. Why an NFA? And I will do just fine. Three to select the faces and also like the front face and income to extrude that face a little bit like that. And from view now unconscious scale dad same face. And see that a solid object. Lever guess gallon next a little bit. That's okay. There you go. Okay. So these two pieces are different. Okay. These pieces, everything is met. All these bee species here you have the strap goes at, so slab leather. Let's just select everything here. Shift the duplicate ECS to Luckin the x-axis. And let's put this over here. It's not exactly the same, but we're not going to have like more similar things. What we really want to do now, from now on is going to be different for both. 16. 15-Block out - gem: And so we're ready, we have our shield. Let's start with videos and just showed a reference. Compare while we missing here, I'll notice is we're missing this part over here. So P is actually super-simple, are regard to there is a another cube. So if I go Open, going to control to this thing, and this is going to be just a place holder to be honest, because we're going to modify this big-time. Okay, so let me just edit mode G, Z, places they're more or less where we should be. Okay, because that's supposed to get Gen Z wireframe. So if you pay attention to the concept, the Jimmy Slack Sapling the middle. So we want to put this a little bit higher. We want to scale this much like there's a scale in Z. Make you live out. And notice again, it's not the same, but this is a place holder regard to this in a different way. We're going to take it out so you can see it. Scale in y. We can flatter. It's not my property for us to be honest. And it's too big. So please hold we wanted to be a nice place holder. Yeah. For now. I just want to say like there. Okay, so there we go, are very nice block out to actually have somebody tells array along the way. Now there are many. But next we're going to do, is we're going to start creating our high poly model. Okay, so it's gonna look, it looks cool now for you. It's going to look way better. Mitre. 17. 16-High poly - Modifiers: So those are querying are high poly model that's going to take two solvers who was solved with bladder. And then we'll move on to ZBrush. You just check something here again. Because let's start with a border. Okay, Let's go in the same order. So with a border and grading high poly model is pretty much easy. Okay? There are lots of things involved here. We're going to start off with just making everything smaller. So we're going to create guttural to motivation modifier knots would happen. Okay? Everything goes smooth and it's now really convenient because we want is to get rid of these phases. But the part that are sharp, we wanted to stay sharp. So let me just go to lockup view. So we can work better. I'm going to remove this modifier. And what happens is this. Actually I shouldn't have removed the modifier, we just print the habit. And the material. What happens is this what the surf subdivision surface modifier does is that it takes it makes an average. Okay. So he calls the guest this edge, this one and this one and amaze any smooth them. And that's why I guess I'll curve. So how do we make them get like hard edges? One way to do is just to create x-ray, just go gray, for example, Wildcard there we move it close to the we have water. And in fact, some people call crazy enough to just to calm place one on top of the other like this. Okay. When you started doing that with every single one of them, you started like this over here. And then you go on to educate epidemic. I don't recommend that these are called, these are called support edge loops. Okay. I don't recommend that because takes time and it's not that I hate time on the contrary, a lot of time and you want to have as much time as possible. So I'm going to get another great rid of this. Just going to add a, another modifier, a bevel modifier. I'm going to place these bell modifier before this elevation surface modifier. Notice he got a little bit better, not much. Okay. So let's just analyze what asked about modifier. It does pretty much breezy. He takes the, the ages and it makes a bevel. Okay. That's what you see here. Now, the bevel modifier has limitations in this case, it has maybe non-members. It's going to make a bevel on every single edge. It have the angle, so everything there has more than theory degrees angle 30 degree angle is called a modifier like this one over here. And if they don't get to dad angle, the Justin will not be affected. The amount refers to a distance. Okay. But if you go even not if you notice there we go higher and nothing changes. I will tell you why in a moment. And if we call lower IQ, if reduces until we get to 0, okay? And the segments is the amount of mass that we're going to have. We're sure about I want for this regard, I want to have two segments, okay? So this is gone to substitute. When we do this and get the best. And when we do this, we don't have to do it anymore. The modifier is going to do it for us. So let me just turn that on. Let me go here to geometry and this club overlap. A club overlap. Is there a reason why we guy here, see your 0.1.1 or higher and nothing changes. You club overlap. What does is it prevents the aged from overlapping geometry. So if I take this off, it goes crazy, right? So let me just go back to 0. I always take this off, sorry, turn it off. And then as I'm moving in amount here because I feel more control when I do that. Okay. So I kept that got a 30 degree angle here. So I think that's affecting this edge as well. It looks weird and I don't want that. So I'm going to use a different limit method. And I'll show you how first I'm going to call here is going to be weight. A. Weight means just, let's say wait or halite into some way to group edges. Nothing is whether he had nothing has any weight. So we're going to do is like having nothing selected beings in selected mode as well. We're going to go to Select, I'm going to select sharp edges. And it's called to say all the agents that have more than three degrees. Okay? We had here when we have angle selected bot, there is something we want to select or something that we do not want to select. Because obviously selected, oftentimes these tools just not perfect. So it's very good to check around making sure that everything that we want to say selected and everything that we do once it's actually not selected. So it looks very good to me. So you might think, okay, So if it's good wide dealing with the originally, you'll see why in a moment. Let me just go here. I pressed and just in case and brings up this menu over here. And this go to where you lost, you hear about in the Item tab, edge data, Hs data. Bevel mean by weight one. And now the modifier is affecting everything there has to wait or one means 100% case. We have that. And we have the subdivision surface modifier and we're rain, right? Well, this actually looks good. Then there was going to get a take the first try. And why did there, okay, So shade us more business. Right-click shared is moving object mode. Now everything looks okay. That regard found you. Look at this over here. You've obviously this mirror modifier. So what happens here? It's going to be reflected here. This doesn't look that nice. Okay? And the reason why not? It is because this part here is sharpen to call it somehow saying here, but this one is not there. What's going to happen here? But it was obviously didn't happen. Now complaining are actually happy it didn't happen. So let's continue checking to see if there's another problem. Just out what? Front and back there again, everything is mirror, so it's only this one. Where are we going to do a very simple regard to give weight to this? If we have selected the limit method angle, we wouldn't be able to manipulate this one. It says we have, we're working with weight. We can select this one. I'm here, press one, Enter, and that's it. Now we're talking. Okay? Okay, look at this super small detail. You might think I'm, nobody's going to notice that. I notice it out of four go with it. Though. I prefer to work it out. Not that difficult. And that's okay. I can continue checking, making sure everything is fine. Here. I'm surprised section not there's no problem here. Because here everything is smooth, nice. And if thought there was gonna be a proud Amir. Merely monitoring is like something super small. And there you go. That's it. Same happened here. All those terms. They usually have that private. That's how I might think. Okay. Well, how does he know where to look? Well, those sharp turns to tend to have that brown and to show their problem. Okay. This one didn't slightly notice a difference. You see like that rest one. And you see it's actually grass smoother year. Or if you go back to, oops, oh, because I selected, is selected 0. Recall, I'm going to use having like that. Now cool thing about modifiers. You don't need to apply them, you can leave them just like that. And you have mirror barrel subdivision modifier. Okay? So first is smearing the image, then is create the bevel and then it's true subluxation. If we invert this, it doesn't work the same way. You see. The order again is super, super important, is get out of local view. Now, let's work in the blanks. 18. 17-High poly - Part 2: One of the planks, okay, and it's actually pretty easy as well. Let me get to love you. And we don't really need that much details. We don't really need like damage, Edge support because of borders are pretty much hidden. Let me just go for the subdivision surface and we do need something. Look at that. Everything has been smoothed best canon. Yeah. Now good evidence that good bevel modifier or is it only the fire metal hooks here? The goal of learning that, okay, please, it first looks better still not that good is because this is do too much. So notice that made Shift and press here too. You have two segments. And notice one of the provers that this bar over here, say what is it though, doesn't really have 30 degrees. Zola's not add anything. They're just show you now what happens. We have a whole how we work so hard before route to get it. So let me just automated mode. These select everything, select sharp edges. Okay? And is to simply much everything and it's not selecting this one or this one. And we don't want those identities are we don't care. Okay, so we're going to make bearable weight 1. And we're gonna make it. But you could also, you could have also play with the angle, but I prefer to do this or accurate. Okay. Oh, alright. The blanks would go to his shield to make sure everything looks the way it should look front back, everything looks awesome. Let's continue now with this piece over here. And we're just going to be very similar to the border phenomenon. Second, well, we know that we really need a bell modifier key, just going to turn it off here. And I'm going to Control 2 for our subdivision surface modifier. Notice this bar over here. Here we have problems. Why is this? Well, very simple. Because I mean, just to rid off because we have an engine. And if we look back, you might actually see the same problem? Yes, because we have an angle. So remember when I told you that we had a phase, apply what's actually required and then we divided in four. Well, it is more complicated with an ingot and it's just not the binding forest debating lots of amounts, something crazy. So in there. Okay. So it'll be a good time to get rid of the, of the angles, right? So let me first give you sense. Okay, So I'm going to play the mirror modifier. Now. We're going to put the mirror modifier because that's what's going to allow me to solve the problem with the angle. Actually frozen cold too. Yeah, now I'm just going to by this ready now have instead of one N going to have two angles. Here. Those faces. The Bohr says there, these probability here is the back. And we're also going to delete that extra lead faces and everything else stays there and the same to select mode, alt click. And I'm going to press Control F. Good, these are phase options. You also have them up here just in case there's been for it to use an arbitrary cuts were faster to all of you. Again, it uses shortcuts. In all these options. Have this one called Redfield. This is going to fill the space. And he's going to use quotes only. What is that? I'll look over that looks beautiful right now it doesn't look beautiful, purple. Okay, so we're gonna start playing with these barriers. Here is information, the offset, for example, try to find something that I think that looks okay another. And we suddenly he really well to 100 minus 2. Perfect. So we're going to be the same thing at the back. Okay, Control F grid fill. Same problem. Let's try the same to here. And maybe 12 now is actually managed to really go to and minus two. There you go. Yeah, a bunch of quotes. Let's make sure that we're working with normal's outside. There you go. Everything is fine. Let's go back here to reduce off. And we're pretty much ready with the quotes. Okay, So when we turned this on, notice a difference, okay, with the abs, some details, but these is pretty much normal. This is actually fine. But everything is smooth and we don't want to either have everything that we're going to turn on the bevel modifier. Look at that. It's more obvious to parameter we have the corners. Okay? So what I'm going to do here first and gone to turn, there's other mission suffers from the fire off. I'm going to go close to look at the thickness of the Babel and I'm going to apply to them with that amount. Let me just turn this off and start increasing there. I think that's okay. Too. That looks nice. You always want to have some either haven't mentioned, you always want to have your edges. I that you wanted to have. You wonder, sorry, you want to have them pedaled? Because nothing Nothing is that sharp. Okay. Look at this. It turned off the modifier. Nothing in the world. Is this sharp, doesn't matter. We're going up for my free. You have to kind of sort nothing is too sharp. At some point it gets battled. Okay. So you need to actually go now, now that we're so close, I look, so forgive me. Is oops, this is simulated up to something. We're not supposed to be looking back close anyways. Okay? Not angle. We're going to use weight. It mode as select super-important what happens if you don't have pixelated when you come here and use a sharp edges, is going to sell it edges. But if you have, for example, this excited a lot more things because it's selecting this edge. For example, dyes made up this vertex and this vertex. And then he selected this edge, has also made up this vertex and this vertex. So it's Kaltura might be select this edge and this edge because we're in vertex select mode. Same happens with faces. But now we're going to do that for all eight. De-select, select the sharp edges we are in, and select mode, and now we have the sharp edges only. Okay? Who take a look making sure that we have selected what we want to have selected. Yeah, no problems here. You're gonna make here one. Okay? Now we're going to turn out the solution surface modifier. We want to see that some quarters are not nice, which is this one, this one. And we don't have mirror modifier, so we have to say it all four of them. If I click to select them all, one, and that's nothing else in this case, everything is curved, so everything was perfect. I would have log of u is what we have right now. Okay, next, we're going to work on these over here. 19. 18-High poly - Part 3: Okay. So let's add, offers his goal to look off. You. Add the bevel modifier in Canvas, turn it off. Phyllis are the control to the subdivision surface modifier. And it doesn't look that bad. But if you look at here, but we do have some problems, obviously. But notice here we don't have that problem. Remember when I told you, that's just a straight a little bit. And then we do this rapid destruction, just normal. And we created this edge over here. It was because of that, because they wanted to have that support their array. Okay? And we're going to have another one here like this for example. And then we'll return the sun. It's better. We have something where here that we're going to fix later. But what about I, let me just control C or we just did. And let me just turn on this modifier. Live within looks better because in a lot of shrubbery, sharp angles where they're supposed to be handed. Tips are nice to be honest. So if you think about it, this is reduce the size of this a little bit. Usually more or less, whoops too much. You see, that's why it was way more control by perceive sounds better. And we need to very well. Medias within here, it's okay. It looks nice. It looks. Let's take a look at this part over here. So what happened here is that we have as a border agency here well, we don't have a support age. We're and here we'll have 30 degrees. I prefer to do this manually. And I said C. C also problems AS just at some more. Actually, my first sec here because that part over there, it looks weight. Deselect everything. Select sharp edges and select it I guess. But notice here we just turn off the solutions of a modifier. This is selected, but this is not selected. That's what's creating the problem. There is personal Here at base period. And this is also happening here and here, which is making this edge now unnecessary. Okay? And this part here is just fine. Thank you Hope. Yes. If in doubt will do for now. I'm going to undo this one. I'm going to undo those OVN. We've gotta have the development, the fire. They're neither de-select the other ones. So dissolve those loans until you solve cosmetologist months and say these four. Add the one I just created here. X. I'm not going to delete it. Okay? If I delete them, that's what's going to happen. We don't want that to happen. X is solve edges. Now you go. Okay. I will turn now this solution. So with modifier, everything here looks nice. And a little bit of pinching here, months honestly, booster like that. This one over here. Let me just show you here. Let me just get rid of this edge over here to show you what happened and why we once were all that proud of having this edge here. You just solve it. And that's what happens as a way it looks. And notice these artifacts as well. That's why I prefer it to have that you see are going to have the artifacts. There are so small, they're super difficult to perceive. Look, even with these close up there, look the look of small right-click Shade us mirth. And this is pretty much. 20. 19-High poly - Part 4: Okay. Finally, recon to assist control two-year and contra to here. You have does some of this was you must nice. Right-click share smooth and this one as well, but two, so again, it's a place holder and use later on that and oh, yeah. By the screws. Are super small. Yes, but you still want to help? I poly version though everything looks nice. Let me we, yeah, let's add babbled tools to do things right before your solution Surface Modifier. Okay? And notice is taking some edges that we don't want to be taken. So let me just isolate everything. Okay? Go decide everything. Select sharper edges with deselect. Everything that we don't want to be charged. This is why she were happening and beginning ys are being taken into account as sharp objects and be part of the ankle from that anymore? Oh, my now keys. But here you go. And there is that now I have to do everything with all the other screws. Too much work. So to make things easier, it's going to go your front view. And does here books from you? And we can go one-by-one, okay? Or you can just go here and select one color here, wildly here, shortly, but again, just click onto a x. The lead Burgesses lay here, contour L chief, the hours are reposition. Everything again, after everything is supposed to be the same size is random. You just look at the reference here. Let's put this over here and let's rotate. And one more prayer. The mirror modifier is helping big-time. We rotate a bit more because randomly. And there you go. Well, this one here is a little bit out of place and clay contour L and we just supposed to be and that's it. We're just missing the back of the shield. The speeds over here. We're going to look pretty much the same thing. Pebble. There are segments and I keep it on Hopewell. Control to the solution's surface modifier isn't the way here. Also control to in this case all in quadrant two because they're supposed to be a curve anyways. And let's work on these things. I had to start with this one over here. This law, actually they're the same object and rigor that, whoops, hold H was he didn't really. And let's select sharp edges and tears. I was home province here and here. Here I'm here. I'm going to say it those two. Let's take a look also. There's one over here. Actually, I don't want here. Oops, not that one. That one. This one or this one because this is leather, so supposed to be curve and flexible of things. So now mean by a white one. And we changed the limit to what you see now v France. Let it looks good as right-click and share smooth. And let's modify this size of the bubble is called a 0, no bevel at o. And then just make a super small. So it looks slightly sharper. Look at this, we have a problem here. And I view, remember I told you that we shouldn't have done something that we did. And there you have mode at a toy you, that we lacked a phase there that we should have erased. That's a problem that is causing that artifact. A bit careful with inside faces. But we'd be there. Oh, we just had to face x Delete face. I'm now that's a normal browsers anymore. Okay? In this case, it didn't happen because we were working only with an edge. Insulin me see here this is our shield and anything. We weren't ready. Well, we're ready with part of the high poly is looking very good. Okay, so we've gone through an axis, so we're going to name everything, we're going to group some things. And we're going to start adding. Somebody tells us, can I make that are going to make a drastic change. 21. 20-Naming: Okay, so let's go in order again. This here is coming here, okay, we select the object coming here, double-click and just call border. Yeah. You're right. Just double-click. I'm going to probably would have yeah, I don't know how to call this partner, so I'm just going to call the R-naught plate. We call it whatever you want. Okay, you can call out to one or two. It's good to have an idea of what you're naming. And here too as MDSC gem. I'm going to name these DOM because it is like a dome. This I just gotta have money. My anchor because it has an anchor at the bottom. Okay, so what else we're missing here? We're missing. This one will be here. There are cool screws, bow and I know. And this one over here, or handles on the end then said about the smallest cruise over here, here they are. We're just gonna call them bolts. Either said we have everything nicely named. His Does out to be like the sax name. But what you do want to have or you don't want to have is a weight to recognize them. Okay. Me just elapsed these and do not apply the modifiers. Why not? Because bevel, I'm subdivision surfaces where they're going to do is they're going to crave your hyperbolic. But as soon as you turn them off, you have the low poly. So you don't want to apply the modifiers? Not at this stage. I'm probably not anytime soon. In blender. You don't need to, and I don't recommend you. You apply the multiplayer. Not until you are like 100% certain that that's what you want. 22. 21-Going to ZBrush: Okay, now we're ready to go to ZBrush. Well, almost ready. And notice something here. And it is, this job is pretty flat if you think about it. I mean, she olds tend to have this for this view. Okay? W and to be like this curve over here, grab this curve will regard to do here, achieve a buffer to orient. Just make sure it is in the center, right center. We're going to do is we're going to give that band to the issue and select everything. I'm going to say dense as the active element, I need to have something. So it is active to go to Edit Mode is going to just check everything here. Okay, I'm going to do something. I'm going to say it, they're all, I'm gonna do something. And then you will see those now going to look nice. And we're going to apply one of the modifiers to all the objects. Okay, so I'm going to press here, sorry, shift, doppler and ogres are doing this and look what's happening. Just something where we don't know what suing right. So why am I doing that? No idea. Okay, So let's go to object mode. Let's check all the objects and every object that has the mirror modifier required to buy it only the mirror modifier. Mirror. Applying. Only the mirror modifier. Do not apply babble to not apply subdivision. And that's it. Nothing else. So we select everything again, going to make this one an active edit mode. Everything selected, everything is fine. Okay, same process I'm going to place. This is, now this is how it works. So this two on now that I've told them with tool because I don't really know getting about that works book based on the position of the 3D cursor. Okay? And the position of the mouse have an abysmal mouse on the side. You're going to be closer your buy a 3D course. It's right in the middle. Okay, I'm going to place my mouse and the side shift W. And now it is banding average. I'm going to place it, I'm going to press Control to have the steps. And I think that's fine. Okay. But whatever temporary motions the same way. Videos too much OSCE, sheep Dolly, but now what about this side? Pressing Control to go pretty much here. And your motorcycle. Okay. I don't really like to be Fuller's. I don't need at this point over here, this break. I don't like this break. So I think it's definitely too much. Let me just Control Z that top view. Chief W knows I have it a little bit, doesn't have to be done much. I think he just got over excited about. And then Shift W. And that's it. Okay. So we've got our break over there. And, but again, I'm not using any kind of modifiers. Solution is to reverse or anything like that. Okay? Is that everything flatter? And this is the way it's gone to login ZBrush. And everything's ready now. Yeah. Okay. I'm gonna do one more thing. Then I press Shift a mouse or a control. A is apply and I multiply all transforms. What is the meaning of this? It means that the opportunity is got to be considered. Is it's Reno or Because give you an example, because I like this shape over here. Also the properties pressing N, item k and here you say location is 000, 000, 000 000, scale is 111. This is the way should be all the time. Now, 0000, 0000 region. You see here points right here. Okay, let me just try to find this over the IV here, because the precision is up here instead of being here. So technically, if we move everything is, for example, days is going to be here. Yep. That's a place is one is going to be here. So I was going to be as if he were here. Not good. So I'm going to select everything. And then gold two-ply, they'll be location. In the case of rotation, it means just rotate. And notice this row is, row is rotating from this point over here. Okay? So let's just say that everything until a applied all transforms, okay, until z. Let's ignore this part over here is our Should. We don't want it. Andrea, apply alternate forms. Nothing changed. There. Everything is it we're supposed to be this we're going to hide. Now let's select everything. File export, FBX, Export. She'll course FBX, our grand mean before details. We're going to explore all selected objects and export FBX. That's it. Now let's go to ZBrush. Along the z rush. This is my personalized interface. Anyway. So let's get to work. Z plugin and FBX export, import. It depends on the kind of format that you have, k. You can have FBX and you can also use LBJ. I prefer to use FBX because why are they in Blender? You can import here. Select, Show course. That's where I have everything or details. And there you have it. Wait. And now everything is ready. But we don't see anything. Crazy boy, you have to do is click and drag. And there you have the shield. Ok. Now when I press T, which is edit mode, Edit mode in ZBrush is different from edit mode and bladder. Okay? The modern ZBrush means canal. So sculpting, review onto a specific object which is where we're going to do. The process is slightly different. Okay, so you have everything looks nice and beautiful, but whereas over here look, his power here. Notice looks weird. This is good because it's bad because it was supposed to happen, but it is good because it's more small, nice, very common problem. And we can solve very easily. Okay? We have to do is just call back to Blender him. So here bladder, what really happened was that we forgot to verify the normals. Okay. Click here and face orientation. I'll just said everything is blue, but that bar that we have problems is actually red. That means that everything is looking inwards. We don't want that. So what we're going to select this tab, enter edit mode, and we're going to press Shift, select everything. Yeah, Shift N. And there you go. And I, everything's blue, everything's ready task. All we have to do somewhat stroke or anything for that much. But it is being proud. Okay, so we don't want to have something that would inverting almost really don't want that. Okay, a side everything, File Export. Like I said, it could be OBJ or FBX. They always refer FBX and give us more options. Go here. Who should cores FBX for details, we're just going to overwrite that one. Selected objects. And that's it, export and everything is exported. And let's go back to ZBrush now. And here we are. Okay, so this is the model that we had originally. Let's just come here to Z plugin. And we're going to import or details again. Now it's importing everything. And now we have everything ready. And then when we want it, there you go. 23. 22-Going to ZBrush - part 2: Okay, So we're ready to start sculpting at almost actually almost ready. I want to dig a quick look at things to make sure everything is fine. I could not missing anything. Everything looks good. The thing is that this is R is going to be our high Politburo. So once we start working on this too, no turning back, uh, one thing, by the way, this color, this Montreal red wax, now really go. So you just going to click here. And I got this material that I have said here by default, which is the case. I mean, the material not very important in excess, that is not gonna make a difference in your modelling. And we're not gonna use materials here. And you can use, for example, basic material. And that's what I work just fine without problem. So we're going to do now is I'm gonna go talk to buy sub tool. It will occupy object and then gone to apply our press, the body does is that it goes for dynamic subdivision. That shortcut is T. You also have it here, you have a tree. Okay? And here dynamic subdue, you are activated. And what it does is it gives you a representation of two subdivision levels. But we'll take a look at it. And I'm going to do that with everything. There's want to make sure that everything is going to solve by without a problem. Notice here we started to have a proud distance. This one is fine. And you got a problem. Screws are just fine details. And those are also fine. And bolts to the boats. And they're lower in yeah, I think they're floating a bit under jam, which is just as probable here, the WTO. Okay, cool. So notice that one of the problems that I have, It's my attention the most is this Robert here, okay, guess this is floating. And you might think, well if it is going to be an illustration for example, so it's not a big deal or it can be in a game. And that means you don't get that much of a close up. That's a game. We don't like to have it like that. You're like DC tells they're not really visible. But in any case, I want to fix this. So I'm known as sort of sculpting. I'm going to go back to Blender and I'm going to add some little bit of more geometry to make sure that this is going to be five. Okay, so back in Blender, I have my low poly version. I'm the product came up when I started suddenly biters. So I'm going to start bringing on my submission surface. Between this one. And if you notice there's a difference here, they don't, they're not working exactly the same. So how can we solve that? Well, I get what complaint is saved the following way down here, right? I use good to look into local view on or turning off the solution surface. And I'm going to sub-divide there and I enter edit mode. What I'm going to do is that I'm going to close this and close this. Okay? And then I'm going to add edge loops for support that away. I'm called to prevent this from shrinking. So how they close this? So there are different ways. One way is used to select one edge. You select the one run across from it. Press F, and then here press 11 edge. And just surprising F, cover everything. As far away. The railway, which I prefer, no difference in the result with them worry about that. Alt click to save the whole loop. Shift click to add this whole loop to the selection. Control 0s, gaze to get the edge options, and then bridge edge loops. And there you go. It doesn't for you. Now, we're going to set the sharp edges. We don't need to make a big job. Our ability to select this one, hold Shift, click this one too. An item in global weight on outset because the modifier who's gone to the rest. And something else I'm thinking of is that I want to make this a little bit thicker. M O of division. And it looks nice. Something else that I'm going to do is that remember I told you that we were going to have subdivision modifier turned off. I'm going to leave it on. Just then gone to export. Oops, I'm going to export this model with the whole, the whole solid visuals. This is going to give me p were to the wishes to apply in ZBrush. Now, if you're familiar with the blender, you might be thinking, okay, but Blender has a sculpting option over here. Why do we do everything in Blender? Blender has a very good sculpting option. And then I say No, I like it. I used sometimes. But I must admit that ZBrush is superior in that field. And how common this one is not. Okay. And I wanted to check these over here as well. This was just gonna make it easier and then just push them back BY. Should push them forward. It. There you go. Okay. So this is my low poly and disintermediates my high polys may low poly because when as soon as you remove the subdivision surface modifier, everything's going to be fine. And it is my high poly because this is going to go to ZBrush and then we're going to modify it and we're going to bring it back. But now on top of this one, we're going to be yes. A copy. So let me just adjust the bed law bit more in there. Meters had a bit more care. This one over here. Inside, want to have more space. So now that I'm looking at it, not in low poly but at high poly. Actually a myth. What I want to see from the very beginning, I'm going to do is use shape. This is already done. He's one doesn't need anything and everything else is fine. Okay, so let's explore this. Select everything. Go to File, Export, FBX. Though the objects in that now remember that everything is turned on like automotive parts and turn on. So you're gonna go to other sorry. And they're going to be transferred to ZBrush for details and just going to overwrite that one. I don't want duplicates of self-interest and I'm not going to use. And let's go to ZBrush. 24. 23-Details - border: Here we are. So again, z plugging, import a bx for details. And then I just k my new file. Okay, Now notice it looks way smoother like I told you before. This one has more geometry because it applies. The modifiers are we export. Okay? Though we checked if I press here and can see the wireframe, and notice all the geometry that we have here. Okay? I mean, if I go here, Word notice the geometry to already have remade the beginning. We've only had this one. These actually were flat faces now there are subdivided as well. So last star, we're going to start with a border here. And I turn this off and on, I use it. Okay. I will guess are there visualize it actually, let me see this because we have problems with it is another dome, the anchor. So let me just press D. And notice I didn't shrink. That's what you want. I wanted to be red dye. That's why I close that. Now it's not shrinking. Fantastic. Okay. Now we got something there. So kinda bench. And there you have a problem. Might say, well it's a little bit, you will see what the intelligible gone to you that's not gonna make any of your friends. So it's going to work and not in our advantage benefit. Okay, let's go in order lesser with the border. It as something that can be mined. And let me just show you very quickly. I have some references, okay. And this is actually good practice. I have my concert or renally of course. Then I show you, I have these references including the concept right here. Okay? And these references are gone to help me the, for example, what I want, okay? And why the asset can adapt, how it is supposed to look, okay? This is gonna be especially helpful. For example, this bar over here. If you look at this, I have metallic pars him a shield as well. So notice these details over here. So I can pretty much use this as a reference. And the case of word, well, I have a lot of options, something realistic, but actually have another set of references here for the word you, that as well. There you go. Okay. So I have the same issue I have with a references for wood. I'm going to use a combination of this one and this one because I liked more stylized. So it was actually very good for you to give references. I yeah, I know what it looks like. Yeah, sure. You still get references. Okay. If you know what metal looks like, fantastic gave references that are going to help you a lot and your r is going to look better. So let's get started here. The first thing that I want to do is I want to suddenly by this now I don't know how much. So I'm going to deselect this no dynamic something issue whatsoever. Again, this is just a way came from Blender and have my son of rush, the brush. We'll start with by default and compare it to Alpha. And I'm gonna get this up over here. This alpha is included. I made it myself again is named and there I have already imported using gaze to important alpha equal to import. And you just look for the, for the image, you're going to use an alpha. So really having here, I click and in this bottle here and just going to choose one of these options, but before we got dots. And so let me show you what it did do because of that. Notice here already sell off, he tells. So the reason for this is that we don't have enough geometry. Okay? Though, if I go breastfeed for dynamic subdivision, it is separate association, but it's not making any difference. Okay? So I don't want to do here is I'm going to apply. Then I will suddenly vision is that of using my personal menu and going, I just come here to geometry. If I have it, then I was commissioned activity. Just press Apply and notice here, I was not so division this is level one, not so division level to one subdivision, level 3, two subdivisions. So now we have this look at the wireframe. Have all though we used to have me show you everything was that the item was and then once more and let me just get rid of this. And that's working better, doesn't look good. Now supposed to repress here L for lazy mouse. Actually I had lazy MP. Okay, anyways, this one is not gonna work for us. If I go for bragged rectangle. I'm sorry, that was freehand. But for dry rectangle, this one's little bit better. You see your Sergei, the shape you want. I've go like this and I still see that it looks like it's later. I still need more geometry. When a Control Z this and I'm going to press Control D or I'm going to press here and divide. You get another level. And I continue to try o. Again, how you live, for example. Or since this is a really high Bali and the thing is that you, something that doesn't look good here is not I look at period. Okay, so I'm going to be wide. One more level. This is something else load notice here, you're seeing this. I already have 5 million, almost 6 million active points, okay? With this, blender will probably crash. That's why I also prefer I just prefer ZBrush first halting. So this one is, it'd be better not only by more than that. But I'm considering going up press space-bar. Okay. And I'm going to go here amazing intensity. I'm going to put a little bit lower. And now I can do this one by one, like this. Or I can go for another option which is dragged dot, dot, dot allows me to move it and place it. And another option though we tried already was dots. Okay? But in this case four dots, we're going to need to go to stroke, activate LacI mouth, and have a listen radius of at least say ten. Alright? Okay. You see only more. So lazy writing, radius is the line that you see. What Lacey mouse is that it imitate as if you were drawing on the sand with a rock monkey, where you're pulling the rug with a rope. So does what lazy Mouse doll is. So dat small red line the married you don't see. Let me just exaggerate it here for you. Like this. That line. That will be the rope that is pulling the rock. And the laziest step is a distance. But let me just press your one. You can see the difference. There is one and there's another one here, so it's more convenient. It's white. Going to go to stroke with use this to about tiny. This. I'm gonna increase it to 101.25. And you have to just try. And something that I almost forget to do is come down here and look for morph target. A target. I will press your store, a morph target, where store empty. What does this do? Well, ISO press this is got to memorize the current shape that there are sub tool hat, in this case a border. Okay? And with this information we are going to be able to enhance or we're going to do. Okay, I will can also make some corrections in case we mess it up. I'm going to press solo here because I'm just going to work here in the border. I'm going to start from the bottom. Okay? And oppress more, store a morph target. And I'm going to start now in this. Now, notice here, I see, I think there are two separate lake 1.8, 25, it was too much. Stroke is going to give him one this email, so it'd be lower. You go and I should do. That looks better. And one more thing up first. Now I want more intensity here, maybe 30. And we want to do here, and I press Alt. Okay? So what old is two n? Is that instead of creating this AdWords is becoming e words. Okay? So it goes the opposite direction. And actually I prefer to use and now, thank God. But now with lacing mouse or about their preferred drag that and who have Morpheus? Well, now these advisors are working here and then it come here and here and have to do the same thing here. This case, I prefer to use symmetry, so I'm going to press X and again, an activity symmetry. And now what I do something here, okay, I press Alt O two is already there, ready for action there aside until C. And let's get to work now because reduces size here, more convenient, this is fine. And alt and dragging. And we are ready. We got our breath, our detail. Notice this part here was covers. It wasn't really necessary. The I didn't finish this part either because again, it's not to be visible. Okay. So let's look around to make sure we didn't make any mistakes. Here. Everything looks nice. Okay, so my rationality morph target. Let me just show you what it does. We just get the more distant and let's say that I think that my Z intensity was too low. So I just come here, Morph Target and I push it down. If you notice, if you ever go up is pretty much hiding everything, reasoning things. But if I pushed down towards the negative side, is enhancing pressure there, okay? And so Locke's go cashless better, Awesome. Okay. So there you go. One thing that we can do with more target, let's say that you made a mistake. So we come here to brush and there is a brush cold press. M is actually a mole, but he just coming here is called morph. But what happens if based on morph target, the brush is going to help me. You raise a mistake that I might have made. For example, let's say I don't like this bar right here. Okay? Though you just press there and there you go. Or if you want to make it more intense. Because the opposite breast old like me, those bars. There you go. There's affecting sexual. Okay. So that's how you use morph target, and that's how you use the morph brush as well. Morph brush. It depends on the morph target you'd have mortality. Can I use this brush? Here? And there you go. Now, let's add some other details to a border. 25. 24-Details - border part 2: If you pay attention to what we have here, is actually to clean, mean, to polish, to perfect. And real life objects are not like that, so we just call forced solo. And I'm going to choose Russ Train dynamic. Different brushes can have a similar effect. I'm going to use three dynamic, but you can also use, for example, be expressed h for h polish, this one over here, this page, Polish means it's going to polish as if you were a hard surface. So this will be actually very convenient as well. We use this one and there will we use really dynamic and, and there are alternative that we have would be the brush press F to C here. Which makes mean they have very similar effects. So any of those can work just fine. I'm going to use H polish here. Okay? So what I'm going to do is I'm going to use H polish on the edges. Okay? And again, I don't know if I have symmetry on because these are like various small details that we're now, we're not be so obvious all to just yeah, they're just being mirrored. The parcel. Would you actually see that because it's right here. These disorders might be covered anyway. Okay, so here I'm primase simulating like she'll have had these dads This head. So this is pretty much what I'm going to be doing. So let me just speed this up. Okay, So before I go to the very end, I'm noticing we've now been closer attention to the bear here. And here. I have part of the details that went pretty much a little bit to the side. So if I start doing this here, I'm not looked at nice. Okay? So I'm gonna go to brushes and select them more. Brush. And I'm going to move that a little bit. A everywhere hand here as well. As much. That's it. Now I'm going to continue with H polish. Here again, we have the same issue. So rush or morph target, more brush here as well. Little bit, not much. And let's work on this side. And then we have to do the same on the back-end. So I'll just speed this up again. Finally, this part here will be more visible because this is the back. So I'm just going to remove symmetry. I'm going to do the whole thing. Now that I'd be exactly the same. Plus some more intensity here. Always good to look back and forth every now and then to see what you're doing. And timeless. Thanks, look amazing when you're super close and when you're a superbug who don't even see them because they're way too small. You don't notice that at the beginning. Okay. Are you go, we are. First part. Next. We're going to actually introduce right here this softly and just brass everything. So it's not that Greg learn. Now some of the idea in one night daily wanted something that I forgot to mention was that we don't want to modify the silhouette, the shared, we'd want to modify them. So what we're doing here is we're adding details. We're not changing drastically things because if we do that, then we're gonna lose everything that we have done. And then we would absolutely topology, which we are called to do. But just briefly, you don't want to do a lot of work, especially we were topology, which is very time consuming when it is not really necessary. So next, we're going to work on the wood. 26. 25-Details - wood: Okay, let's now use chests up tools. Here. We're going to look into Word, okay? And don't think I'm going to do with this person going to isolate it. So you can see everything on its own. Also, I can only see the warrior and I'm going to activate, every time that I'm working on activate something here called back face mask. You can find this in when you call to brush menu your brush. And you go to auto masking. I hear how the button back, back face mask again. I just have it here because it's more convenient. What it does, I mean, just choose an aggressive brush like clay with our brush. Fantastic. So you just got to do this super hard. And notice as affecting the back. But if I press by face mask and do the same with none effect in the back anymore. So I'm going to use this back face mask every time that I cheated brush. And because this configuration is by brush. So like I said before, I have my references. Okay. And we just showed them to you again, preferences for a word. Here. I'm going to try to make a combination of this one and this one. And I also want to notice that I have the separation here between banks and the same cause here. So I'm going to try to imitate this shape is now going to be exactly the same. Obviously read my tried to stay somehow truthful to the design to today DLA, these curves over here. So I'm going to have the user reference. And that's how I again, as knowledge I'm cheating occur like I just copy and paste into something. Since I again, taking the idea and adapting it to what I need because of the everyday wood is we're there. Okay. So let's get to work. I'm going to start off with those details that I mentioned first between the plaques okay. That the separation here. To do that, I need to go one by one and work on the side of the problem is that if I do like I did before, like with sorry, h Polish, okay, ISR by May with a small brush here and start doing this. I'm affecting the other side. Okay? Automation that I mean more resolution. So let me just I'm here. Geometry. Divide, divide, divide. See that works fine. I mean, more or less. We're going to use another level. We divide. And that one is better. But notice here that when I present one on one side, the other side is also affected. There are different ways to manage this, but I'm going to do, is I'm going to use something called poly groups. Okay? So what are poly groups? Other groups are simply a way to group geometry or part of the geometry. And volumes are super useful because they allow you to select things independently. Okay, We just show you here, I'm going to press here to see the wireframe. And if you notice, it also changes color. That's a polar group. So right now, everything here is in one polygon. But if I go here, Here's close as part of a here and a call to poly groups. And I press R groups, what it's going to do is that as it says there, it's going to auto group by topology continuity. So everything that is separated completely, different PODD group oppressed that I have a bunch of different colors and means that I can select them individually. Are my go-to site then individually. Well, I just going to press Control Shift. I hold them on a click on what I want to select under your eye can work precisely. Arm down. Now I work on the side. I'm going to work on this on this one either or does one because you're not going to be visible, is going to work on this side over here. Once I'm done and I'll press control shift, click again or top. If you have the pen which I recommend. And Control Shift, click on IV friend blank. Okay, and that's how we're going to do it. So let's begin. So again, Control Shift. And this time I'm not going to use a spallation, going to use a trillion Amazon. Play this away. We'll start to shift up books and new blank Control Shift Tab. And we're pretty much ready. Just in case. You'll notice that it looks way better now. Okay. So let me just call it a solid get I wouldn't want to do now is I'm gonna work on the inside. And the way I'm gonna do that is I'm going to use a brush called the dam standard brush. This one over here. And you can come here, press T, and then you find it right here. The ASTM standard used to be known as Damien standard SQL datastore. These brands, what it does is this kind of mark. Okay? So we're going to literally draw it the Marcia we will want based on our references and something else. If you press too hard on, It's difficult to see, but I'm just did again. You're slightly see. It is too difficult to see. And we'll go through where you go to solo. I don't think we would need to push that happened just in case to be on the safe side. We're going to press back face mask, but we don't afraid that we're going to bad these marks on the front and then on the back. Okay, we're now using symmetry here. Just in case it was pull out my reference once more. I'm going to show them to you. These are my references. Like I said enough MOOC was Muslim, this one and this one have already taken this approach. Okay, so let's work on the rest. And we just do the first 1. First couple. Like kind of a slow motion that is like live here. So you can see what I'm doing is going to get this like this. And I think that resolution, if he beat more, let me just come here, syllabi one more level. And I think that one looks way better and it looks way smoother. And remember, this is our IPO. So as long as your computer can handle it, you can pretty much do lots of things. You can increase the a solution they want to reduce it, don't worry. So we can actually transfer this to the blender m. So just based on looking at what I have here, okay. I'm looking at my references as circus. I can do something like this and then they can promote me this molar line here. Okay, not so obvious, but that's okay because that's how the rep and goals. Because we think so. We think that we know how, how, what looks and yes, we can identify it, but to reproduce it, that's a different story. Okay, so there it goes. One, we go for this one was something like this. Hey, let me also do something like this. And goes at online here. And another line both here and here. And we can also use something like this with a small mark over here. There you go. So what I'm doing is I'm getting like lines from the, from my reference. And I've just been made here where I find they're more convenient, they were, they fit best. And let me choose 2 one more here. This one goes like this is what actually goes all the way down. And then I can actually do so here is something like a P before on. That's all there is to it. Okay, so I'm going to speed this up. I'll show you what is reading. Okay, and let's go to the other side. And we are ready. This well, here are a winner. And say no that there are some blanks that like these ones over here. But I wanted to work on the many ways. You never know like eBay K here. And I'm gonna make this layer. I'm going to show you how to do this in them. Or most of you were. So somebody can actually get this and you can see that there is something there. It's not like we just have to regard them because they've got over coffee or something like that. Okay. So that said, let's move on now to this piece over here, which we called the plate. Okay. 27. 26-Details - Plate: Okay. So before we start with the plate or 12 at something more, the word that I forgot to add. And I'm going to get these brush over here is called org slash adapt brush. It doesn't come with ZBrush. So you would actually need to get it online. And what it does is just great, that kind of a slash B and that's it. Having something like this. Okay, I've just realized that might be evident to the middle and nobody has seen him middle. So it's better if I add them here, for example. And up here so they don't look symmetrical. Or you can actually do something here. Here. Okay, so now we'll move onto the plate. And what we're going through here, It's not a big deal. We're going to have some oscillations with a, with a word and we're also going to work on the borders with did I would use here would say we're about to work with the edges as we did here with the border. And that will be it. Okay, so first let's star subdividing your, let me go to geometry. Divide. You can also do by pressing Control V, Okay? Does, and I'll show you the long way so you know where things are. Okay. So let me just try. This. Looks more or less okay, images to buy one more level, debug and get better resolution. And that looks nice. So let me chose this here. Something here. Also here. And here, I, That's it. Okay? And now let's use open the border like we did before. Again, we'll do a brushes, H polish. We're going to SR, polishing the solo this. And let's get going. Okay, so we're ready. Notice something that happened here. I have these slashes and Africa to activate back face masking and this super obvious here. The good thing is that that part is actually pretty much impossible to see, so no problems there. Okay. So that's for the plate. Really simple thing. I will add anything else to this. And now let's move on to this bar over here, which we called the anchor. With the anchor are going to do pretty much the same thing. Okay, So just very much speeded up. Because what I'm going to do is I'm going to sub-divide. I'm going to do right here, right now. I'm going to say, hey, that's okay. Okay. And I'm going to start doing the same thing since this is also metal, I just called to start polishing the edges just to give you some, some better. And i, o, and I'm going to activate symmetry this case. Actually cemetery years now I work for an ISO and undo that what he just said. Remember what I told you here that it's going to be convenient. It is because of this. It helps like gift that affect that spearhead and it's a shield. She'll supposed to receive blows, heads, arrows, everything. Okay. So it's not something that is going to be looking like brand new all the time. It's part of this story. So you want to say that this shows brand new assure. You may want to avoid some, some, many details, but inconvenient with this is that it doesn't look realistic, is going to look more artificial. Whereas if you Greer story for your, she'll say, okay, so this is shield that has been used constantly. Okay. So the way to demonstrate that is through pieces, the lashes to whether the wood is a damaged. Okay. And also the Italian parts. So that's pretty much how you do apply a story to your URL. So let's just speed this up now. Okay, So as you have seen shoulder borders and also work on the anchor and these arrows over here. I can also take the bag within the problem was not really necessary. Because nobody is going to receive this bar. Is if you look at this man that out, you don't see it from the bag, out from the crowd. You don't see either because there's his partner. Oh, I did anyways. Okay. Something else that you want to do? Again, they're going to do actually here, here, here and here. I'm going to add some well bytes. Okay? So how do I do that? It's actually very simple. Gonna go brush and I press C for clay. I'm going to select the clay brush. Okay? I'm going to get to isolate this again and I get super close and then come here to this part. Okay? And small brush, I'm just gonna make a small circular movement actually I think should be a smaller, more similar movement. Okay. So that's going to create the effect. That piece was actually welded. Okay. I'm going to do this here on I'm going to do it under their parts as well. And there you go. This right here. And it's not like super obvious, but it adds, those are small details. Add a lot to your, your model. Okay, Now let's work on the dome. 28. 27-Details - Dome and bolts: For the dome, actually super simple because here, we're here this first we need to have, we're not a lot here. I mean, there is a lot to do to be honest. We're just going to sub-divide this controlled being, like I said before, a couple of times. We once more for subdivision levels and we're going to get the branch each Polish. Okay. I'm just going to nicely, we're going to polish this and it goes so we're going to make it irregular. So it's not like a super clean actual, so it's man-made. It is man-made. The person who did it was looking for the, this shell form. But again, being human is not super precise. So we just have those more bumps there, like attempts to make it smooth editor. Let's come here and noticed that there is a huge difference. I've finally, well now if I have, because it seemed to open the bolts of this MOOC on the bolt first, isolate those close to them. Same age Polish use of super 0. That's solely by this. And divided four times super small brush. We just started putting up a little bit like that. Okay. To ground motion pretty much. And if you don't want to do this small, you don't have to remember that the heroes to enjoy what you're doing. And these are very small details. I will not be seen. But I like to do here because like I said, I'm going to have to this in Malmo said fewer. And I wanted to give people access to see everything that I did. Okay, So if you make a reputation that you are actually paying attention to details, that's going to pay off big time. Okay? Now like to have some RAM and geometry place there. Everything has a purpose, everything has an intention here. So that's for the bolt. Go for this cruise here to see them better. We need to subdivide this hearing so the vision is not gonna make a big difference. But let's use our eyes to how the air, which is called here for this side and the other side, That's it. Okay. There's somebody decides to get a close up. We'll see. But these are actually real screws, not something made up of clay or something made of matter, not just some thing there that looks super fake. Cbd craze. A lot of contrast is going to take the site away from your work. We're going to focus on this. And you don't want that because you don't really want to focus on things that are not well done. Oh, now everything is being more harmonic. Thus S1 and the faintest one more to go, and that will be it as the last one. Oops. Oh, here. It is a tub. Who's here? And we've totally ignored the back. And that's it. The next part, we're going to work on the gem. 29. 28-Details - Gem: Okay, For the gem, we need to look at a reference. Okay, so let me just show it to you. And yen is case I'm gonna probably the concept of mostly. Okay, and here it is. So notice this GEM, UK, it has a lot of flood areas. This is phi, this is flat, flat, flat. Okay. So let's do that part Pretty much. And that's going to be an up. Well we're going to do first, or we always do control D to start suddenly batting. And we'll recall to use something else. We want to use this tool over here, the clip curve. Okay? So what is spontaneous doesn't really clip this way. What this does is that it flattens the geometry. Okay? So first I have it here. You can go here. And here you have it. Now, this brush works differently than the rest of the branches because notice that I selected, that I'm Latina selecting, but I still have the age polish brush. And it's because these clip curve brush works when you press, CPT says here not what all you press Control and Shift. Okay. Yes. A Saxon combination that we use to select poly groups when we were walking in the woods. Or there's isaac convention we're going to use here. So this one is going to help us just by clicking is enough. Okay? And again, you also have everything here. Okay? This select rectangles here for the cell every Tango oldest living glass or they're going to help you selling poly groups. And this one will help you cut things. Either. You see super nice. Now, what this is doing, Let's look at the geometry is not really cutting everything, is just taking what he had there and you just makes it flat. Okay. You say you know how it works. So those are beanie on the ankle. It could matter. Very nice work, so be careful there. So where are we going to do? And I get my reference here on my other screen, is that I'm going to start making cuts are not identical but similar. Something else, notice that line, it has a shadow, one of the sites that aside that's got to cut. Okay? Okay. Bolometers out like this and just move a bit more around here. And there you go. I'm sorry, cutting here. Well, pretty much here. You can do any shape. Now notice here I went up, down, sit up down the bottom. If I do that, I'm going to cut everything that I don't want to cut it. So let's say I mess it up. So I just press and hold space bar and move this. And then I can rotate on a continuum moving with spacebar every time that I press and hold space bar, now allow me to move there. Okay. And now you move your steps in increments. If I stop pressing shift, not have free movement. I see like that. Okay? And, and like this, we want to plot this. Those that are missing, like the spoiler here, missing this problem here. Don't worry about that because we're going to finish this detail. So I'm getting here is I don't like that position. I'm getting here is like the overall shape. And I'm going to note soloing this time because the restless she allows me to see better what I'm doing. And here. And here. Okay. That looks right, right. There you go. Okay, So what happened to this part of the top? Well, again, now actually move here. On May the card like this for example. Okay, well I don't wanna do that. So I don't want to do here at this land gone to select H Polish. I already have it here. That turn off the wireframe. I'm going to make this a decent size and are going to polish those early because each polish wood does make things flat as well. Okay, there you go. And notice that since I use amusing like prepositions, just creating doles, angles that are pretty convenient. We want, okay, So this price here, it's all one. This one is going to be bigger. Okay? This one over here, and the rest is here. And there you go. So notice how we transformed that shape that we had that elongated sphere to is something that it looks more solid, more Rakim with a lot of angles. Let's not forget about these details. This case. I'm just going to ask you something here. I'm not going to focus too much on the back. Oh, this has got over here that visible. Hadn't seen that. No, it's not visible. This is something that happened with a clean brush, so be careful with that. In this case, there's nine of faith at all. This is just not enough. Nobody's going to see that. This flattened out a little bit. Button here. And I can do other than under legal changes, but I know deep inside of me that everything is fine now. On Tuesday that and we just now get the Move brush. Okay. Just in case brush. I'm both super-useful brush. But anyway, one of the most used brushes and zebras. And I think in Scotland general angle what they wanted, but it also works for you. So I'm just going to make this more irregular. Like just to get a nice shape remedies out to be exactly the same. You can adapt this to something that looks better for you, for your preference, for your life, for all your objective. Miguel now H polish and honestly is a bit more over here. I'm going to make one more subdivision. You see like those who just moved down here. Here, we have that we could see the faces here and you know why that is. So you just say that one more time division, the smooth it out. That's it. Okay? And we're done. Well, we have to do now is to take one quick look at everything. Feel free to add more details. If you want to add more details, feel free to have fewer details. I'll go totally forgot this part. Read to add few more details. Like you don't want that many details. Okay? This suppliers are able creative look, slashes Kim this way. Goes. Then I press Shift to whole smooth brush and I press back face because I don't want to move to the back. And I select here, I'm going to move this marks. I don't want to happen to pack light created by accident. And somebody looks at their back, they're going to see them. Main careful because I don't want to smooth out the marks that for the wood that I made. This case over here, it's happening. That's okay as we don't want to get rid of everything because what? I don't want that there. So there you go. So next we're going to work on this pretty much for the latter would never do anything. Everything's might be done in substance painter for us. But this part here is metallic, so let's just work on this which preimage his age Polish. Okay, so let's go to that one. 30. 29--Details - Handles: Before the handle is Alt, click to jump buttons up tool. So you can just come here and set the sub tool. Or you can also use Alt, click and tap. And it's going to select this up today, you click on Okay, so I'm going to be that one, age polish. Let me just start out in some subdivisions here because there's two There's a couple. And not of that much. Yes. Again, knowledge none around. Make a big power to them. Want to maintain the shape. I just don't want it to look like super clean like, you know, this is like when you think of a shield, your thing of a sudden there was made in medieval era. And then you have and then if you don't polish this with eyebrow with those irregularities, it's going to look like suddenly made from the media were era where industrialized, industrialized handles. Which is not the idea. I guess I'm going to lower my subdivision levels and smooth this bar over here. Know what a bad idea, a terrible idea. We just polish in a lower subdivision level. Now I'm just going to go back to this one, is going to publish like that. It's because of the Bible said a lot of your min-width, too much geometry there. So it is creating that pinch. And nothing to worry about us. So I'm going to speed this up. Okay? And I think that would be it. And this is our final shielding, final details, as I said, for the ones that we're going to add it in substance. But there you go. This is where we're going. We have done ZBrush. Everything is ready now. So inconvenience, we're going to address them. Now. 31. 30-Decimation: The main issue that we have here is that we have a total of 11 million, 11 million points. Okay? Go, there's a lot of geometry that if we send the straight to the blender, it might crash it. I mean, it depends on the power of your computer. But if he doesn't crash may make you work a slower so we don't want that. What I'm going to do here is everything here. And I'm going to add in the folder, I'm going to New Folder. And I'm going to name it or not use shoulder. And this is going to be my backup. And just in case a massless screw things up. We're going to have it here. I'm going to close this folder and in our dues and gone to duplicate a folder. This folder and also tools within the folder where we duplicate it. Yes. Now this goes from 11 million to 3 million. Okay? And here I have two folders. This one over here is going to rename it. And I'm going to say, I recall that my right decimated or gone through here is that we're going to decimate everything that we have. But what is the meaning of decimate? Well, we have me just hide this. And we have 11 million polygons. Okay? We want to maintain all these details, but we don't need 11 million polygons. Let's look at the border for example. You might think, well, in this part we're actually a lot of details to make those nice curve, all those things, okay. Well, there's probably a huge We don't need that much information. You wouldn't have done them much. Pauline goes like you have all these but until we could have less than that. So decimation, what it does is that he analyzes trout review geometry, and then it reduces the count of polygons to something more manageable. Now, he got it. We did the end because what he does increase triangles and the sculpting triangles, just not really Company. I've tried that library. So we've got to Z plugin, decimation Master M and does here. And the stems are first have to preprocess the geometry. Again, he means we're going to tell zebras hate studying this analyst is low. What I have, this is what I wanted to keep it. We can click on preprocessed current or preprocess. Oh, yeah, He just going to press preprocess current is that is a first step. We're internalizing the mesh. So let's just wait for this to be ready. Back now it is ready. And what happened? Happened? Exactly. Nothing. Why? Because I gave all we did was Bree process is just under licenses to rupture and the lights no geometry. And now we're going to do is we're going to decimate current. So here we have like a lot of settings. One is I want to select percentage, the summations layer YOU to decimate 20 percent. Or you want to have an average of men on average, have the poly count around these numbers. Or you can have these presets that are already there. So I'm just going to have this make current then show you what happens. Okay? It is ready. There was pretty fast actually. I, let me show you another geometry. Well, you might say, Hey, that looks worse. It looks force and it says that it's not clean geometry. But if you look at here, whoever form 23 million to 18. So it pretty much took away 5,005 million polygons. Okay? And if we get close, you see how those nice details over here, we didn't lose anything at all. Okay. So what I'm going to do now, Let me see here. I'm going to choose over here. I'm going to say exactly how many polygons, while I have your exact number, 1 million, I think this is still too much. So I'm going to repeat the process and this is something that could be mine as well. You can repeat this as maintenance if you would like. But we mind that obviously since you're always reducing geometry to, it's going to be a point in which US are seeing, thinks like you started losing details. Okay, So preprocess current, we wait. Okay, Now that is preprocessed, nothing has happened. Z plugin. Decimate current settings. And you'll see that it looks like nothing happened. But now we have 2000 went from 1 million to 200 thousand. Okay. So I guess we'll go lower. I'm going to give it a try. Okay. So again, just so you know, preprocess current, we wait. And then we decimate. Okay, Always keep your eye on the geometry. But you make sure that you're now losing details. There are some a current. Now if you notice here, you start getting like this. Small artifacts means like now's being able to march and others who went from from 200,047. So maybe that is just too much. I'm going to Control Z, that BK. And I'm going to press here, let's say they went from, they want to go to 150 K. Is press stat is taken the preprocess that already did. And now is decimating to data specific mount of polygon with gammas very close to totally 150 thousand. Okay, there you go. It's ready and it's got this one and you've got exactly that number. And we don't have those artifacts anymore. So I think this one is good. It this one is fine. Let's go and repeat the process with all of them and just get this done here. This one has 552 thousand, okay? And notice here that, well maybe we don't really want to emit that much. Imagists one subdivision level first, it looks better, it looks a little bit smoother. Okay? This MOOC a little bit here. And now we can decimate because what's going to analyze is this. We're going to say you guys are going to keep the necessary amount of geometry here. Here, he gave us all this just preprocess current. We're in 2 million right now. Okay? So I could actually preprocess this because we have a problem, and I believe the problem is because of this polymer here. What's going on, It's happening is that these geometry here might be very close contact with this over here. And that's why the preprocessing is being complicated. There's a know what to do because it's an online why does connected to what? So what I'm called to do first is I'm going to brass shift to get a smooth brush regulatory move that back face mask. Okay. Mega in size and gone to reduce my subdivisions because when they have lower subdivisions is easier. Yeah. Well, this surface must be proud as well. Are you all okay. Does get more for the commissioners. Not necessarily bad. It just remembered some par with what we already had. This is moving again. Unless coal for the last level to slightly visible, there is going to be a smoothing here from the back. Here. I'm something else that I want to do, something that's called smartest move. It which is going to press Shift. I'm going to touch, I'm going to hold because I'm just smoothing now. Okay. And I'm going to let go of shift, but I'm not gonna let go of my pen. I'm just going to hold that clique and going to hold that touch it, and it's moving everything. So what is doing that is distributing the geometry evenly, okay? Without deforming the geometry inquiry to it's more because the smooth does me show you what it does. Thus this. But he played, the smart move is different. Okay, So sometimes it's more convenient. This library great example here. Well now I want to keep those details that I have, so I'm going to use them. But because I'm in my brush, org slash brush and I'm going to press back face mask. And I'm going to do that. Focused now is nothing in the back. So let me note there, let me just show everything and get some more slashes here. And one more here, That's it. Okay, Now I'll solo again. Nothing is here. Well, we can see that we're safe now unless preprocessed is again, Z plugin preprocess current. And it worked like a charm. Okay, so I wanted to show you that because you will not have with these bees, but you can have with another piece or maybe you can have your API from projects. Okay, It happened to me a lot of my goal and it was super frustrating because Russia was gone super slow and just a bunch of problems. Ok? So just make sure that your geometry strategy and the trees just very nicely done. Okay? You don't have geometry on top of geometry. Okay? So now, and then I think I'm going to say maybe 0. We saw this the first time. It wasn't so high, Pauline, so I'm just gonna go for a 75 K to see what happens. It was, it was fast are happening and we'd go super close. Everything looks nice, slightly details here. Let's just try. Instead of oxygen we see happening here. The 2 million versions, you're going to do anything. Interest is nicely move that. Whoops, I was too strong for you. Just wanted to hear. And that said now we have 75. Okay. Let's move on to the DOM. 32. 31-Decimation - part 2: I'm a super simple, actually. Something that Nike was problem is this hallway here and it turned on and try to I'm just going to try to decimate this with this whole butt. This hokey was a problem, so we might need to close it. Let's try first. Okay, So C Plugging preprocess current. Oh, no problems at all. And Udacity is so these actually super lower ready, we can make it even lower pay, let's say 20 k already gotten 2000 and nothing happened. We could go even lower than that. I am going to make a big difference score for the word. Okay. And I remember we had these issues hopefully won't be the same whenever there's a problem, hopefully. So we have 2 million here that's pre-process correctly. See what happens. Okay? No problems at all. So no complication is 2 million. Z plugin lead seals go for a 150 k. Let's look at the geometry carefully. You don't see any changes, which is actually very good. One to get rid of those mark or non-tech company. Sure thing. Thanks with our minute of an album. Dozen kids use continue here. This one is not that nice, but again, just use the word detail. So now I'm going to be the end of the world ear. Actually not gonna do anything to it plus nine-halves, something that's not productive. Okay, So we have 150. You could try another one. Let's just try preprocess current. Now. So d phi k, So the eyeballs on those fast. But look at this dumb. No, I'm not really convinced about this Italian for example, those Control Z, I'll show you already had a little country. She was Z to redo. And you're all terms. I may not like this up at those lovely I would though. That's okay. Everything else looks good, solid, keep-alive that 75 K is go for the anchor. We have almost 2 million policy here. And we don't have that many details like in the word or the border. So we can certainly do something here goes the plugin preprocess current hour ready, and that's thick. Let's go now, see plug-in. And let's aim at 75 K. You didn't see any changes, which is a good sign. I'm going to take the wall point. Everything looks great. And you could even go lower. I think. I'm just going to leave it like that though. This cruise. Okay. They need to be decimated our employee because by too much for something so small. Okay. So preprocess current. Now I'm going to aim at something really low and again happen. And I don't see any changes, anything. We're here, its own muscle. Sam gave with the bolts, moles. We have even more geometry really up here. Again, preprocess current. I'll do a fast. And now again, 20 K. There you go. I actually went to 19,989. I have to go, whoops. And to go for the handles. And all doodle have their Missouri amino or spoken more here, but that's okay. So preprocess current. This one. Let's have it at 35. Kayla, see how that goes tomorrow? Well, I guess he gathers a geometry here because it needs geometry here, but here it doesn't need that much. So it's more spaced. Obviously, these kind of wheat topology to call it somehow, is not convenient for anything except perhaps for 3D printing. Actually it's coming up with 3D printing, but it's not convenient for anything else. So are we going to do here? Now our gem, which is another valid, but if you look at it, mean doesn't need that much either. These were gone to reach. Apologize, because all we have here is actually an elongated sphere and it's not that convenience now good with there. So we're going to have somebody topology down here. It goes, you'll see plug-in reprocess current. And fast I one. And I believe we can go 20 KVM lower than 20 K. I'm going to repair that we brought as current. And I just gonna say decimate current. And notice now do have some slight marks it the way we're too far with the 4000. And that is because it is aiming at 20%, let's say 40 percent, etc. Resume current. Under Hugo still got the Mark's. Going to undo that again. I'm going to go for 50 percent. Now those are working just going to be at 20000 and doesn't make her and tried to decide. Now, I just made about 20000. I was actually pretty similar, not ten thousands again. Okay. So we're done here. Everything is processed. Again, notice here that we had 23 meters now when dow by more than 10 million polygons. And these folder has less than 1 million polygons. These only this folder, which is what we want. But let me just make everything visible. Okay, I'm gonna go for Z plugin, another submission master, but BF, sorry, FBX, export, import, visible. So what we're going to explore the visible, and we've gone to sport. Okay? We have for details with regard to sport now is detailed little difference here, okay? And it's making everything is going to take all the SAP tools included that why do we have in the background? But it's Nirvana spore, those is only Quantic sport or re-did the zone exported, host explanatory, its own exploring what is visible. So we wait and it's going to let us know when it's done. File exported. That said, now we can go to under. 33. 32-Retopology: And we're back to Blender. Ok, so here we have, but we're really having blender. I'm just gonna press a to select all my press M is I want to move these two new collection. What is a collection that says Yoast a box where we can put things okay? And create a new collection. And a guy named this collection low poly as answer twice. And now notice they create this box and inside this box I have all these elements. Okay, So this allows me to be more organized. And if we want to hide everything at once, you can just press that. I if I close my eyes, I don't see it. Right. Okay. But we're going to do now is that we're going to import within in ZBrush. Though we go to File Import. We exported the ZBrush and FBX file. So we're going to import it as an FBX file. Press the a look for the folder where I have everything FBX are not fully tells us they wonder we took out of here from, we're going to use detailed, one that is really detailed and import vx is heavier file. So it's gonna take some time. Don't worry. The patient is going to take a while, but it's going to work. Okay. Here it is. Okay. Everything just so where we had a ZBrush, now we have it in Blender. Our gone to this axiom three, we just say, well, I'll press the letter M, new collection. I will write here, hi Pauling. I'm pretty much we're not going to do anything with that except with this piece. Okay? What happened? Well, if we have this, I'm not, I'd go to Edit View because he would more complicated. We're going to show you the wireframe. Notice that super dance, okay? But we already have good topology in the low poly pixel. We're going to use a low poly two hour. We're going to use a hyperbolic only for the details. But we do not have good topology will good element in low poly for this piece again. And find, let me show you where we have those ideas and show this one. We just have this an elongated sphere. Which the, again, remember that what we did was we made some cards and pilots or none not appropriate. So we're going to do is we're going to read apologize, this piece only. Okay? We're going to use an add-on called RI tuple flow in, but in case you don't have the add-on and you cannot get it. No problem. I'm going to show you the settings just to recap all this manually. There's going to be, There's gone, there will be differences. And so let me just get lockup you. Okay? And I started setting things up or they might have read topology. Okay. So I'm going to press Shift a and get a maddening and get it Blaine. Okay. And again, align it to my view because I am in front view. Now notice the position of the jam. Know this position of the plane. Okay? The gem is pretty much in front of the player. So I'm going to get to front view. You can see this better. And then I select the plane and I'm going to click here. Okay, and here in this obvious properties tab, I'm going to go to Viewport Display and report this plate. I'm going to do two things. The first one, click in front. So what happen if you notice this part over here now? The plan is in front. It's not exactly from his seal the back, but we can see the plane over the gym. Okay. And that's something that is conveniently stonework number topology and the earth are we going to do? And this is just for miracles, okay? You don't have to do if you don't want to, you're just going to change the color. If I select this blue here, random color, I'm now going to go up here and click on Object. So now again, I have a contrasting color that is going to allow me to see things better as the only reason why it changed to color. Okay, one more set and we're going to adjust this maximum over here. This is a snap tool. We're going to use this to make things as snap to the gem who were now we don't have floating vertices, but everything's just snapping to the gym. And we're going to snap into the faces. That says, so this tool is going to lose, wanted to snap whatever we have selected faces, vertices, edges to the closest face. And that's it. So I'm going to select a plane. I'm going to go to edit mode by pressing Tab one to four vertex select mode. And right now what I want to just going to randomly place this on top of each other. Notice that now I get this small recall. And everything says napping. Let me just show you here. Is when dealing a snap and why? There you go. Circle. Now it is a snapped. Okay. So let me just move everything here. And I'm just going to place this randomly and then I'm going to get closed, closed, and I'm going to start positioning everything. More accordingly to what I believe would be appropriate word topology. Then for example, they are vertex with true. Because we need more topology, topology, more geometry. Shift Tab, silage, Shift-click, Shift-click. Have to create a new phase. Here. Here we are. We do, we extrude through, through, through and Shift-click F or wherever that you'll want to create quiet, okay, well here I have a triangle and say it was unavoidable. Again, this is just for demonstration. I don't like doing it like this. And then you get acquired and then they come here so that these four vertices, and again another quieter, Okay? Are we continue like this? Okay, so this is a manual way to do it, okay? Just extrude. But you can also, for example, whether you want to set the edge and extrude the edge. This is also being, being snaps. Don't worry about it. I'll just start moving things like that. Okay. And so on and so forth. This versus this one over here. And there you go. Okay. How are we going to continue with any like this? I particularly don't like this method because it's obviously super slow. Again, I'm going to use an add-on and I'll show you how to install external atoms as well. If you can get your hands on the arrow, there were fantastic not well, here you have pretty much the process how to do it. For this is a hard surface objects. It's not like it's going to flag, so it's going to more, I mean, it's not going to deform in any way. So you can be flexible with the topology. Doesn't have to follow specific rules that I wonder apologizing a phase. It has to have a specific loops and other stuff. Not in this case, it's actually way more flexible. You could even have n guns, okay? But again, I don't recommend it because we're gonna we're using other programs that they don't work very well with NC on, so please don't do that. Let me just get out of edit mode acts to delete this. And let's talk about overflow now. Remember flow is an add-on and external add-on that help us reach, apologize, with way more 0s. Okay? So since he says to know iron, we can come here to Edit Preferences and we're not our final here. Okay? So running here, turbo is RATs just not gonna show anything. Okay? So to install an add-on that is a type, maybe we toppled flow or any other atom. Now that that does not come with Blender, we click here on Install. Okay, we'll look for the zip file, Adams coming up with zip files. Just click there. I'll click Install. Adam. We wait patiently. And what this is continuous primase is going to store the atom, but it's not going to activate the atom. So there you have the add-in. Okay, garden is here. You can really a bit about it or where to find it. And we activated by clicking here and this checkbox. And that's it. I got auto save, so that's enough. Here. We are retarded flow. How does this work? Blueberries in you will see. 34. 33-Retopology - part 2: Now in sanctuaries, apologize, You seem very top of flow. Okay, It's going to be way easier that way. And I'm going to use these two pieces, or the low point is going to be these two pieces put together. When I click on this one, and I'm going to click on this one. Okay? Everybody else is just hidden. I'm going to press here top of flow. Either I select here new target at active. It then means that we want to work based on the active element. So we click here. We were basically for the TOEFL to set everything up. Notice how this boy start now, since they split, it's blocking all these because we're not support campaign of these or any chairs getting any possible way. Just press your clothes. You have this message flows. And we have these tools. These are the tools that we're going to use for topology. Actually we're not. I use all of them because a few, let me just give you a quick overview. Contour is Doner we want to use for some other we're going to use. So I'm just going to leave for the end. All in strips, you just come here. And to use any of these tools you press and hold Control and drag, click and drag and policy. When it does is it makes a strip of polygons was pretty useful sometimes though, are they easily stroke? Just make a stroke like that. So you need a liger you have, when you get here is a sequence of edges, then you make another one and it makes a connection, and then you can continue doing that. And obviously your word did work that well. But I think you get it there. We're going to use this one a little bit. Batches, if holes. Holes. Okay. Ali Ben is yes, Pretty much you create angles required. Movies. I'm holding control the time. I mean, for example, if I want to make it quite here, but given the option to work here or here, or just click here with our pressing Control. And now core control. And Clegg I want to do here is snaps here. If OPA, if we just get closer, we close enough and a 0. But that's Polly pan. You must use my normal topology, very similar to what we were doing. But you see you have the Satish ready and, uh, you don't have to create vertices and then add the faces, is doing everything for you. Now if it's just to cut the body. So since I don't have any topology here, not easy right now, I'm loops is, and we just get here polygon again, just to give a quick demonstration. Here. Loops is just that you gave loops. Yep. Our fire, we have tweak tissues, moving things around and we have relaxed, which is used to relax the geometry, it to make everything more even. And that's it. So we're missing contour. And they said it's doable, we want to use it most is the shape is pretty circular, so he's going to pick contour. I'm going to get here out of the geometry, hold Control and drag. Now these that had that circle in the middle. And as it goes, tell me we're actually creating our geometry. So I'm going to just place it there. There have vessel contour, those grays a whole loop, okay? And they have 16 vertices. If I hold Shift and I scroll up, and I have 17, continue scrolling up. And I can get to 20. My recommendation, always a number divided by 4, so it can be 20. Don't have go for 22. Okay. You can go for 24 of you want to. Because she is the recommendation x to the elite and considering the vertices because they want to do this a little bit closer to the edge. O, there are only want 20 Burgesses a thing as y. But I want to renounce their income to all control and drag again. It's creating already all the loop, all the faces and everything. So I'm now going one-by-one 20 times or something like that. Auditors dragging, holding Control. And D or Control Z, that is, this is now exactly in the middle. I should be careful with that. In here. An organ called the gym. Okay. Though. There we go. We're almost ready. We can have one more. Who wanted to? Be careful though? Because you do want an even distribution here. So like backstop are a little bit and just holding clay in this case, I don't need to press Control L just in case. Just by holding close enough. And you go, Notice this over here because this vertex v, because the polygon or any tool used to select that, we're going to either birth because our nowhere without plotting the vertex there minus I by accident or marijuana was demonstrating something. Anyways, let's now build this gap over here. For this guy, the first who've gone to you is we're going to use Polly pan mostly for fun. We're press Control offsite, We're free. You have to double-click here the edge. Now some tools when you double-click the select the whole group, some of the tools did not have been done, have been fooled and contours, for example, on a double-click there the whole loop. If PolyPhen, I'm going to press now, sorry, not operatory stroke. I'm going to press Control, going to hold control. And now I'm just dragging a circle. And what this is doing is to an hour looking crazy geometry here. So it does not that convenient. See if you can relax them. Sousa going the opposite direction. So this is just good closer. And tweak that thing. Facile utopia lie there. And you go. And that's again it goes, then we're going to relax it to have big periods. It's better than nothing. And only there, there you go. In here. Well, this is two separate induce more some bridges over there, so everything is more distributed, more evenly. And that's it. Back together. We're going to have you're going to feel it up in a deeper way. So let me just exit here. Okay? Not as though we have, we assume if we actually every type of flow, we end up in edit mode of a new topology. So I'm going to press Control F. I click here grit fill. And let me just hear while parentheses what I'm doing. There you go. Everything is a bunch of God. That's okay. We can leave it like that. I don't really like that shape, so I'm just going to add the number of spans here. Are working on Hawaii. And these admin. So let me just delete the phases. Select this loop control F, and we're just going to repeat that. I'm not going to move anything in that it's working better. I need to see them. Okay. That's why that's just great. And then I'll come here to davon. And you have to pull flow these diverse and allow me to go back to this same worker was doing and not something new like a new geometry. So let me just close here and we're back. I just want to relax this a little bit so you're just better to geometry because when we just go Control F grit fill, what it does is that it creates a fat plane there and the gem is not flat. So just wanted to make sure everything is adjusted nicely. There you go. Oops. Resume. I didn't want to press by accident. There was right-click. Now I actually want to stay there. This borrowing a CEO of a little bit. On, there you go. Let's see, we actually writable flow solid. And this over here is our new low poly version. And we just rightly that shaders MOOC. I said. Okay. 35. 34-UVs: Okay, so let me just hide everything here, press here, and just for demonstration or explanatory appropriately, what do UVs are? And the easiest way to explain vz is with a cube. A cube is a trial dimensional object. Uvs. I should add that the letters U, V are used instead of X on Y to about two to the mesh instead of three. But they didn't want to mix up X, Y, and Z in three-dimensional world with the XY just two-dimensional world. So as why we have UV, but UVs just substitute for x and y. So the UV map is to own fold this, suppose somehow to offer this and make it add to the shape. Okay, so lots of people are familiar with this. Let me just go here to this tab, UV Editing. And these are the primitives in blender. They already have UV. So look at this. I believe you're familiar with this shape. I gave you want to make a cube out of a piece of paper. You have to cut, you have to cut it like this. And then you start folding here. Right? So you have your cube. So that's pretty much the opposite. Instead of folding things, we're going to unfold. Like we have a paper cubed and we want to make it just a piece of paper. Okay, so that's what UVs are. We need to do this so we can create textures. Here. Let me just X to delete the cube. And now the queue is actually very simple, right? Let me just select this one and let me go to UV Editing and let me get to log of u. The queue is actually very simple, but you may think is, or how am I supposed to know where to Carter, how to do to make this two-dimensional. It's slavery complicated. I quite aware of that. But idea here is to make as few cuts as possible. Okay? I'm make cuts where nobody will see them. I'm going to go for, I'm going to press two together, edge select mode. And I'm going to thank where I can cut. Well, pretty obviously got here because I know for a fact that the word is going to be there and nobody's going to see that bar. So you just press after all, click into, so the whole loop, I'm going to press Control E, get the edge options. I'm going to mark as SIM. And so Maxime abreast a U, it to say that everything you to go to UV mapping options. I'm going to press here on rap. And this is where we have over here. Okay. If you notice there are some parts that they don't look that the, well, we don't want to have this cube, so you have to be very, very careful. Things we can do well. I can also select, for example, these sharp edges are really sharp edges like this one over here. And there's one over here. Whoops, not that one. The one on top. Just in case a blue lines that's the realize are the main bevel. Wait, okay. Just ignore them. The red ones they are. This seems that we made for the UVs. Ok, Control E, mark scheme a to set everything. Notice and nothing has changed and nothing is going to stay until when graphs we have to select everything. Press you, unwrap. And this looks way nicer. Okay. You can leave it like this. Actually, I was going to work just fine. So notice that I didn't really know how to make a paper shield to go somehow. But I just start looking for cuts in a that are not to be visible or that the monopoly ranked highly affected. Because if you think about it, this power here so sharp that if you have something different here from here, you're just going to make perfect sense. Because it may even your brain will associate that working so it's shrubs is being disrupted is, is, you know, is used. It's just maybe fine. Okay, So let me go to Layout. Let me go here now say the word. Now she'd go in order to yellow and just go for the words, the seizure, then we go for them for everything else. Okay? Model fairness are normally UV Editing. Okay, I get out of a local view and a get into lookup you again, you get this. Now what happened here? Look at this is already has a UV. Why? Because while we did really was a, we created a cube, which is a primitive. We modify it, really integrate this one, and then we use array with duplicate it. What do duplicate primitives? The UVs, LAN, one on top of each other. That is to say that if I come here and I select there within those connected, they move it. Notice that I see have way more UVs down there. We go four on grab here at this moment, I'm going to have the problem that there are no seam. So it's going to get rid of this. Because one thing, The other problem that we will want to have, but we could have. Is that if we leave it like this because we may think we're ready have UVs and there are one on top of each other, doesn't matter. Who cares. The problem with that is that we can actually go for baking and texturing. But we do. This plank is going to happen here, here, here, here all the same place. Okay? So there is a nice way to do this. Okay, well, we can go one-by-one and created gods again, or you can use already have how I'm going to press a to select everything. Now I'm here, okay, I'm not at, my mouse is on this side. If I do it here, is known to work here. Lender follows commands based on where the mouse is. So an IV here I press a to select everything and maybe haven't explained to you how this works, but it's pretty much the same tool who press G to move on, so on and so forth. Okay, we're gonna go to UV. We're going to average islands scales are islands scale. And what this is going to is that every piece of uv is an island. And to average them means to make things proportional to their size, like these UV, UV for displaying supposed to be a smaller than this one. Before that, let me just control Z is the oral the same size. So these UV is the same size as this one. That doesn't make a lot of sense. So contour, cheesy, and now UV again. And we're going to say pack island. What this does is it automatically distributes this. Okay? We can have a like this or we can move them to more convenient way for us. For now, is going to be like that. Okay? And this is enough, we're done with this one. Let's go to layout and let's tackle another one. There's one over here. Uv Editing out of local view, back to local view. Our, we're back to a very similar problem to what we have. How do we account for this, right? So sovereign they prefer to do is you just take modifiers. Subdivision is active and is deactivated, so it's easier to see. And then I select this one over here. The whole loop highlighted the whole look. Not really easy to see. We just see a go. See if I turn off the bevel by an iterative it on later. Okay. Does we're up. I'll click. The whole loop is selected onto Marxism. And I've just realized that I did it just to have of it that do to their house. So I'll click I'll click here as well. And let me just get down here. And I'll click here to select this and are negatively selected. Yes, it is elected. Now, Control E mark scheme hour we did pretty much is that we took this out. Okay. We can do the same thing to the back. Yes. Select Control, E, Mark seem, okay, So we can say that go with this part over here. And we took this probability here. And we now have the whole border. For the border, I prefer to make two cuts. Okay. Because if I make only one, it's going to be like a super long piece. Let me just show you what's going to happen. So I'm going to select this one, shift click to select this one and this one. Control E mark scheme. And I'm going to, I'll grab this. Okay? So notice that we have this piece over here, which is the one in the front. This piece over here, the one in the back. And we have the whole border. Okay, with a card over here. But it's too long and these are too small compared to everything else. So what he wants to do, what I preferred to do is to click here, click here, and also all click here. Control E, Mark seems okay. And in current days in half, why am I doing this? I'm doing this. Because something that I want is to have more resolution here. You unwrap and noticing they are now bigger, that means their solution is going to be better. But this is one of the reason why it is convenient to divide this. You might say, well, this is actually quite visible coin. Yeah, but we're quantum. Make sure that we don't have something here, that it's going to make a huge contrast. Okay? We've tried to do that as a last resort though, is very when we have kudzu in places where we can now see them. I could have done the cars here and here, for example, instead of up and down, but it was not going to be evenly distributed. There was just my decision. You can still go there anyway. Go to Layout. Okay. We're missing the part in the back and just work with this one. I stopped running away. Uv Editing out of local view back to local view. And I have this. So what can we do about this one? Well, first of all, we have geometry in the front and also in the back, meaning that this is high-dimensional. So we have to move on to do the same thing with digits. How many go? I'm going to turn off subdivision, and I'm going to turn out babble so I can see the edges better. I'm going to select all of these. Because remember, these are even welded, so not a big deal. Control E mark scheme. Okay. They need, they need to have some more things done. But let's go step-by-step here. Let's focus now on this circle. Okay? So the bank side is known to be seen. So again, actually make a cut here. Mark scheme. We need to analyze what we're doing and how are we going to do it. Again, just all click here. We went all the way up front and back and I don't want that. So let me just deselect everything. And because I have a cut here reading and just click here, these are small edge over here. Okay, I'm going to press Control, Shift, Control click. And that will do for now. Marxian bold, that should open the geometry. Not exactly. I'm just analyzing this. Now, do the same here. Books and control and mark scheme because it's not fully opens, not completely open. You'll see. Okay, so I want to want to do is I'm going to continue here. I'm going to get until this point, control lake counter play. What it does is that once we have something selected, you choose as the closest path. In that example. I don't have the screen cascade we're having issues is the closest path to go back. Just the closest path to where we click second. Okay, So they hear. Okay, just nano click. And then I wanted to get all the way hearing or press Control click. And it goes, says this is the shortest path like this straight line. And that's an OK Control key. Mark seam. This is not ready. Okay, Well, let me see how it's gone. So notice we have that super long thing. I don't know what data is very quick. Because we're supposed to have this is fine. This is the border. This over here is 123. Okay, so this one should be the anchor. And this is the anchor is probably here. So let's say I'm working with that, or does this is ready? So let me just come here closer year. And whether one is front the back now from the front, from the back. I just want to open it. Okay. We're going to press Control this shortest path and press click here. And that's it. Nothing else. I don't want to open the back. I don't need to open the back. And I made the cut irony to open the front. Sorry. And I don't want to I don't want to cut the front because I don't want to have seems visible seams there. Okay. That's why I'm doing everything in the back and unlock the ankle for last because it's a little bit more complex. And here it's over here. Mark seam. And we're going to grab and these over here, you notice a, look better. I can even cut the triangles if we wanted to been a really want. So I'm just going to leave it. It's gonna be fine. And we need to work on the anchor because pancreas are making our lives difficult. Now this distribution is narrowly even so let me just go to object mode until a and apply rotation and scale. Just having the safe side. Rap, yeah, nothing happened there. Umbrella. Okay. So we just select this. And I believe I can have another carrier. Loops are there. Yeah, this will be a nice place for a card. Every previous creed. Control E mark seams so that, and that line is there. I will have now a different piece here. Like all you grab. It looks better, but look on my anchor. Still not looking nice obviously because I have it and grab anything here and go to back view control. One for bank the UK one in the numpad means from BYU, control, the opposite, that is back view. And it's already have the card here. We can select this side. And this side make cuts over there. And I need to make cars over here as well. So let me just cut here. Trade. In the world, do use fire. Thank Alt click and small edge here. Ok. Maxim. Alt, you, I'll grab. And there you go. Let's look at this. It looks nice. Looks nice. I'm gonna still Mega like I befriend God here. We could Bano. Yeah, let's just, I'll click here. All click here. And I'll click here. Looks nano there until z beside this one, this one and this one, Control E, mark seam. So what I can do here can also do here into the US. It's more convenient. With the same dose. Again, you grab and value. I think this is actually way better now. And that's it. We're done with this. We have some visceral seems. Yeah, of course, here, here. And also, and also here. Okay. But if we don't have that, then we just now going to look fine. That's why we have to sacrifice something at some point. But again, you all see that we will work, we'll work around this. Go to Layout now. What are we missing view, we have the anchor. We don't have bolts and we need to have everything included the walls. Okay. But Bolter pretty simple because again, there are just two D would say that there just to do it used to be a cube. We erase a part of them. You select everything. All right. As we hear, you hunger up there, you've got the bolts ready. Thank you very much. The border is done. The DOM Stan, the gem diol one, we're not going to use it. The handles were to have a working the handles. Okay. I may think it's too it's more complex. It's not exactly more complex with yes, R2. And notice that it has something here. Okay, because we came up with these based on a cube, the last star, and let's pretend it is a cube and let's try to make those carts the same way. Okay, So we'll make cards here, here and here and the back. So this would pretty much left off mature enough to mollify Arthur had turned afford them occupiers journal what I did, it isn't the recording. I'm going to select this one as well. And this one, these borders Books, another one. And here's whatever here. I don't want to set the y the bottom because I don't want to cut and separate things. This one to open them. But this I do want to gag you don't want to cut with. This is just something that was attached to it. So it's okay perhaps seems. And this one Control E mark scheme. So there's two separate, this is going to open, this is going to open this direction, this direction. And this is now an upper anywhere. But this is going to open this direction. Saw, I asked, I believe this is fine. Let's repeat the same process here now. There you go. And also this over here, this over here. And this over here. Mark seam. Our amazing steal this part, hundreds probability what we have right now, and grab and look at this one. This is actually really nice. You'd have given these attached, we wanted to, but that's okay. No problem. The same here. But they're fine. Pretty much the same thing. And these over here, these are horrible obviously because it's this and this relation that part. Anyways, as continue working with this. And I'm gonna make the cuts the inside of a facilitator. And notice by blue confuses me some time. There you go. So what this quantity is just taking this piece of document, oxime. You forearm grab and there you go. That piece, this one over here. Okay, For your strap, I'm going to look pretty much the same thing. We're going to prison, want to do something on for L. Notice that the strap is now connected to this. So I'm just going to isolate that. Oops. I couldn't isolated, sorry. Where I can press Shift H to hide everything except this. And notice it has a shape of a cube. This one over here, this phase is now very necessary, are getting raised that I don't usually make additions to this stage, but in just press X with faces, and this is not an affair or hypoallergenic penalty that, and you can use loops and I'll go to edge select mode, alt, click, shift, all play when they're inside. Or oxime, old H to unhide everything, a to say that everything you grab, and there you go. So here we have our UVs for these two pieces. Easy-peasy. Let's go now for alteplase, ready, RI tuple flow, which is actually the jam. We just write here. New jam. It has a nice Now, we're missing this cruise only UV Editing. And we gave this, are these two the guests? They are to the altar. So everything So eight so that everything you own Grab. And very long because I still make these gas over here like for example, let me just show you here area to focus with you. Again, see all the materials. Select these ones over here and make some cards over here. But it's not really necessary. The UVs are, sorry, the UEs are nice. Okay? And, and again, this is just very small detail. So when we want to use how to make the cuts, go ahead. Who's not in affecting anyway. Okay. So here we have everything. Here. Everything just fine, no problem. So we have our low poly ready and UV. Why are we going to do now? Both resists. This looks so, yes, of course, That's why I don't want to have I'm going to double-check everything good because I'd really don't want to have subdivisions here. This is a low balling. Look at this one has subdivision and here is one also has hold the issue inactive. The dawn of third was passing by, I don't know, webpages. My brain played a trick on me. Okay. We can remove these. These are modifiers. Notice here this new gem, It's a modifier is that readable flow creates good to make sure everything works nicely. Plate is okay. Okay, and the witnessed an alphabet. Awesome. So where are we going to do? We're going to group things. 36. 35-Grouping: Gone to group things because we don't want to have like a bunch of different things, but much of the frame names is gonna make things more difficult for us. The way through. Recall to group things is like this. We're going to select an object and we're not going to include any other object that is in contact with that one. Okay, So we can choose this one. The first one was a border, and second one is this one because these pieces are not encounter with a border, their encounter with a word. We're now going to say the word, OK, how we're going to select this? K will call the plate. Because again, all it is is slightly encounter with the word soul knows not recommended to slow down. Let's say here that the anchor, we are going to select the gem. Okay? And the last one is the active object, okay, So that means that the last election is there. One does want to be zoomed. Score is the one that's going to dominate them. In other words, everything is going to be added to that object to the active one. Notice IT has like an orange border and this was electric yellow one or green one. Let me just shift click the border to make a poor at the active object just because I want to. And then I press Control J. Okay? And I'm going to Control Z that because I want to make sure that they all have they all have the modifiers. Okay? So it's again the border with bevel modifier. The handles for the bevel modifier as well. The border with the bend modifier and the gem, which has no modifier. So what happens? Well, if we leave the gym right now, all the other modifiers are going to be erased because what's gone to dominate is the active elements. So I'm going to choose the border that missing and I have a bevel modifier added to this. Okay. But the has no wait, I'm available. The fires working with waste is we're going to be fine. Control J. There you go. And I can isolate this. And now all these are just one object. Just right-click Shade has moved to make sure and that's it. Okay. Now, we just hold sorry, we're out of luck of you. There you go. That everything and meters high. This again, a Part D plan and let me know and I use these Jamie anymore. Is that again, it's very loud. I use it. So we're just going to delete it. Now I've already selected all this. Now when I press Control, I to invert the selection. And I'm going to select the wood as my active element. Okay? And again, Control J, and that's it. Okay? So what do I have? I have now border. You just select them, which is all this. And now I have word, which is all of this. We chose here. Check, have the bolt. While this one did they sit together? These should now be together. Is I'm just going to take them. I'm going to add them to the window. I want to show you how and everything else, why these are together here. But again, we have this Discovering, so it's not going to give us any problems. And I will tell you why I'm talking about all these in a moment and look at that. This looks horrible. Let's see what's happening in this control C, a couple of times. C. And almost there. Here you go. Something is happening here aren't exactly what. So let me just select everything here. I'm going to select these screws, border. They anchor the gym. And this, and this is my active element. And I'm going to Control J. Want to know what's happening here exactly. O the size of the battle was too much. I would have 4, 5 was fine. There was a problem. Since this had a setting of 0.008, it was too much for this small piece. So be careful with that. Everything else is fine. This cruise, for example, and I will look at the screws to solve the screw. So let's just reduce the size here. You need to have some really do your points through one. Use given villagers how it's 0.001. But a big files such as small ration, but together. So let's try something else. Let me just get this to 0.053.005. Oops, sorry. I messed up a good 0.005. Okay. I took the bag at the back is five. This part is not fine, but I'm going to go to, you're going to go to Edit Mode, local view besides everything, and then go to select because I'm going to hide this, I can see better. I'm going to select this. We'll have to do this individually for every single screw. Where is it? I got lost. They're okay. But is it having said it said CEO points through steel wall was a D off with this one. So I want to press N. We're going to go to item and here maybe I will wait. One means 101%, 100% means CEO points series barbarism in 0.005. And if I change that to, let's say SharePoint two should be 20 percent. Alright, so we just now object mode and select back and look at that. Now so horrible. The media saying, I think I didn't choose identity like this one. We've got our soul going to pay COP, not 0.2. And voila. Perfect. Perfect. Perfect. Perfect. Yeah, we can do that. We're going to deal with every single screw is a little bit of work. But again, he pays are big-time. So again, I'm going to enter edit mode. Okay? I'm going to turn off the modifier so I can see clear, can see better. I'm going to select all the edges are being affected here. And I'm going to change your weight from 100% to 20 percent, 0.2 as 20% of 0.005. Okay, have we tested out? This worked like a charm. Okay. Well, let's do that. Again. I'm going to speed up the process now. Okay? Now a mistake here because I actually did everything and data instead of changing their weight. How I did was I created seems and I had to undo that. And that should be enough and we just get out of here. Let me choose activate this and take a closer look at this cruise. Going to look perfect. Now, the problem here is verified this one yourself, and I forgot to include this bar over here. Always good to the old chair, yoga books. And they're fantastic. And that's it. Okay, Awesome. Actually, even with this, we could actually increase this and then change the edges here, but I don't think that's necessary knowledge through this cruise, for example, screws later, we have a C here and so your point is 0, 0, 1. Then everything else was going to look super sharp and I didn't want that that change was actually necessary. 37. 36-Grouping - part 2: We go now for the other object, while the other objects, let me just select this one. Has everything Control I to invert selection when I used to work. And Barrow is 0.306 years in Case Control J. And make sure everything looks nice and others should give us proud Maximilien. This one looks very nice, The honest with myself and the jealous and they don't want to dominate sub k. So that's it. We already, we have two parts here. Now we have the border and we have the word. Nothing else. Okay? So are we going to do is we're going to call this part one. In part one underscore low. And I'm going to call this par to know not capitalized. It's not about making a difference, but low nanomolar difference if you're capitalize or not, but just to have everything in order, okay? So you can give any name. Don't worry about that. Don't sweat it. We're going to go now to materials. No way, we're not making materials for textures here. This is. So I'm just going to hear the material when I made my power one. And the other one got a new material and we're just going to name my part two. These names are important. Now let's go through the high poly. And here's what we have to pay a lot more attention. Why is that? Well, for starters, me just turn this off and show hyperbolic. The high poly models, they don't have any modifiers. This ratio indicates they have modifiers. They don't have any modifiers here, and thus, no problem. Okay? So that's one thing. The other thing is that notice how we create a here partial one underscore low, or we also need pow1 underscore high, low or high. These wars are going to be important. And R1 is all these. So we have to be very precise and not miss a single thing here. Okay. So I was going to be from bank to borrow the handles, border screws, anchor gem. So meters high this and get out of love of you. Handles border shift, click. Okay. Anchor. Cruz area screws are screws values you have a problem. Again. Handle border, river with these very small screws. Anchor and Gemma, active objects, mortar B, why? Because they want to until j and everything is there. And I just realized screen casts now working again. And you go OK, Control I to inverse selection. What is going to be the active element Control J. And that's it. I have those two organisms as well, and we're gonna call them the same part one. Okay. Hi, there is only difference high and far too high as well. Press it, nothing else and the case and look at these all materials. We don't care about those materials. The high poly, we're going to use it to project to the low poly. We're going to meet the law boy, look like they're high poly. But the high poly per se, we're not really going to use it for anything else. Now, I let it be of theory. Name means are important. Okay. Why? Well, because we're we're gonna go to Substance Painter and services painter, I'm going to have the option to say, Hey, I want to project the details from these other objects. But the only difference is that this IVR is called high. Okay, he has the same name, but he has a suffix which is underscore. Hi, hey, so does Y. In this part, it is important. For the low poly. We also may a material called pow1 on part 2. Why is that? Because we are in Substance Painter buses patron is not going to use mean. It's going to use the name of the object to project details. But it's not been a let us use a nail with Europe just to work. So we're going to use to name with the materials to work. Because this is what we're going to see like when I have two materials, part one and part two. Okay, I'm going to save my file. And I'm doing I'm making a mistake right now because I'm not going to do it on purpose when we got to. So suspenders, you're going to see a huge problem. Bk. Let me just give you a clue of what the problem is. Let me just select this, which is power one low. Let me go to UV. You see the massless get out. Okay? That's going to give us a problem. When I showed you a problem it is, and then we're going to solve it. Okay, So let me save here again is select everything. And I may export as FBX. Okay, in my folder for FBX, and I'm going to call it shield, low selected objects and export. This is going to be super fast. It's done. Okay? Notice I selected both elements, okay, So it's gone. One FBX file with two objects are one lower part too low. This is the same thing now with the high poly, select everything. In this case I don't need an active element. Export, FBX, and shield high. We use to detail one, yes and no. Okay. These faraway here is called detail is not useful to us because he doesn't have the name convention and the grouping of the elements as while we're actually exporting again pretty much the same five because we didn't make any changes to that. Selected objects. Export. And that's partially this one still exporting. It takes some time to explore. Okay, so an easy way to know ways exporter or not is by just scrolling is now going to move when it's exporting was this sport is going to move. And I'll see you in Southern Spain. 38. 37-Prep for Substance Painter: Welcome to subsidize fainter. Okay, So this is my, my Substance Painter, even if it looks to frame a because a modifier here and you've got that option or this option, or this option here, I'm just going to have here 3D and 2D, and means that he is going to show me the object modeling 3D. Here's my show me the 2D version. We go to File and I'm going to create a new project. And I'm just going to come here, File, select nothing else than worry about it. This is super easy. Let's look for our file FBX, and we are going to work. We're going to paint texture always below version. Again, the high version is on into project. So remember, we always paint the law version, open document resolution to Ks, fine. If you want to add more those. Okay. If you want to have less, that's also fine. I have it in to K. And later you will see that we can actually change this or does a good thing about Southern Spain tree. You don't get married to everything here. There were mad format, you have the right acts or OpenGL I used to read, pretty much leave everything by default. It also had any templates and I press Okay. I wait for Substance Painter to import the file. Okay. So the problem that we have is that such dispensaries three, no charging anything. And one of the reasons for this is the UBI you use. Okay, So let me just get out of lookup you here. We have all been autozygous object mode. Okay, so that's what I'm doing here. Object mode have one obviously that is part to shift click. And so pow1, both of them tab to enter optimal and I got to press a to select everything. Where is my screencast? There it is. Look at this mass. This is horrible. So what happens here is that facilitator has a lot of information in each pixel. So this is an image. Each pixel we have over here has a lot of information. So how are we going to solve this? This is super important because we don't want to paint here. For example, you don't want to paint here and have these bar over here, we modify it as well. So let's go to UB, average, island scale and pack Ireland. Ooops problem here. It is. Select everything, control C. Why select everything here? Uv arrows, either scale, UV, pack islands, and there you have, everything is here. So what happens now is, for example, if I say select one object to UB, have those spaces, but those faces are fine because the others than space is for these other. Copy that over here. Now compliment each other in one image. And something else that it got confused with some sorry about that, is that you have pow1. And here we are not supposed to have part 2 verse also supposed to have Parr one being so everything's in the same UV, everything's the same material pretty much. There's going to be different on where. Now these bins are we hit that were already grouped. These are not, there wasn't one to use. I mean, I'm talking about this bar over here, okay? Which you should not have just gone to. Click on one vertex Control L, x and the lead purchases. Okay, I'm going to do the same thing here. Goes to let tab into edit mode, a bigger one, birth control L, x Burgesses. Going to go to object mode. And I have my RI tuple flow geometry, which is this is the one that we worked on. I'm going to select this and I'm going to add it to one of the two parts. I'm going to say par to. And I think that shows power of y. Now I prefer part 2 honestly. Let me just about a week and control-click here and Control J, and there you are. Okay? And let's see something else on the high poly and the name. So let's not forget about, I change the name here for some reason. Don't do it please. Is supposed to be pow1 low or too low. Okay. And the material is going to be named shield. Your sample or two, I'm Paul wants to say material, the name is shield. Okay. So let us check out the high poly is fully group already, okay? But the gem, gem over here, okay? It's in one group and this DOM over here is in another group. And if you remember what we did in low poly, we actually put everything in the same group, whose height is one? We have everything in the same group here. So it's grouped to use part two. So we're going to put everything in Part 2. Now, these bar okay. Maybe I need to be heavy. So be patient. As like marijuana in this case. And tab to enter edit mode. Since this is high polish super dense, it takes some time to enter their plugging one vertex to any vertex Control L. He as a separate. And we separate that part only, which is the gem. Okay? We enter object mode again. And you go. And now, when I choose this new object, control-click in part too high. You get them together. That's it. So the high poly is ready. Meters high, this low poly is pretty much ready. But we need to verify the UBS. We just added this. But let me just come here. And is, there you go. There's no UV for the element. Just come here because if we were to flip everything, everything is selected, everything and respond to our rubber everything. Here we select everything as well. Uv, average as scale and pack island. And there you go. The whole UB are ready for its left for us to do is have everything selected for the low file export, FBX file folder for your low selected objects, export. Okay? Now we hide this one well with this, select. Either this one, show the high poly a to select everything. File export, FBX. You'll high selected export. And now we go to Substance Painter. 39. 38-Baking: And welcome to Substance Painter. If you're opening substance painter for the first time, it's likely that it looks a little bit different. Let me just show you an example here me that these low nicely. Okay? Don't worry about what this is, this plane in due time here. So I know you have something like bees and you have some more things here. What it did promotions that in closing, I just press the X here. Anyway. You don't have this. I don't know. Let's say that we close everything. Okay? So in case you want to have your, your interface more personalized or pretty much similar to mine, or with everything that you've closed goes here. Okay. So in general, what I uses layers you something that I have available all the time. So put it here. And this one here, which is called properties. Okay? If I give you here, is going to make a new tab for US. Come down here. You just pleased out that section of the screen, which is why one, okay? You get, have more things if you want to add them, you can have your things. If you don't want to have anything, that's fine. Okay. So you know why thousands venture with you might look different from mine. Okay, Now, let's go here to File and New York integrator new project. I wanted to select our model. Which model we want to sell ever want to select shield? Low, okay, why low? Because we're always paint the low poly version. Okay. That's the one that we painted it with one work on low poly. Okay. So we'll click Open document resolution to Cash's final Mao for majors who indirect acts and everything else. It's led by default. I do not serve the template and press. Okay. And here we have our law poly version of the shield. Okay, ready for action. Are we going to do now, is we want to project all the details from the high poly version to the low poly version. I want you to notice something here they did on purpose. I don't know if you remember the beginning. I mentioned that I was giving you like enough geometry here at, for this to look as smooth and K and it looks pretty smoothly, my opinion. But in these he said getting worried too much about it. And I wanted to do that because I wanted to demonstrate what's about to happen. So let me just here to extra set settings, scroll down and bake mash maps. Okay. We are going to make all these as a Friday. Normal. What it does is that it gives the impression of depth and for the details. Okay, So if you look at the word right now is flat for where we had the high poly it is now fly has those details. Normals is going to show those details. For a space. Normals works with those details as well, including more precise only those details. And been inclusion is very good for shadows. Curvature works with edges in a key position is above the location of the of the, the mesh. Thickness, thickness. Okay. So here I put size, neuro they're beginning we shows 2048. You can change that all the time. So I prefer to work on to K review guys want to work higher resolution that you have a powerful enough computer to do that. Go ahead. No problem. I think two cases fine. One K is a little bit low, so that's why I prefer, I prefer this one. I think this one is the more ballasts, one for work. And then we're going to explore, you see that we're going to explore in for K. And if you want to score a high resolution, That's awesome valid high-definition meshes. This is just a default high-definition meshes here. You just select our high poly fill. Hi. We're now going to use a cage. Acacias years are either scaled version of the model. That's going to indicate the limits from which the model can be predicted, can be projected. We're not going to use that. And these were we're just going to leave by default. We just all do by default until I see, I don't really like to use it that much. Sometimes it's very good. I must confess, sometimes seen as very good because it correct some mistakes there may have into baking, but sometimes it does take a lot more time. Okay, So do you have the options so that you can start with 4 times 4. Interesting case. We're just not going to use it. Match. Always going to go by mesh name. Now, what is the meaning of this match, if I say always, is just going to look for everything that is close to the mat, to the position of the match. Now the low poly and the high poly, if you remember they're in the same position in Blender. Ok. Problem by going for always is when things are very closed, for example, this groove with this surface. It may actually, the bakery may actually affect this part with the making of this Cruz, for example. Or some part of the world may go to the metal because things are not exactly the same position. It are very close but not exactly the same position. But that's why I don't like to use mash. That's why I make groups. Part one, part two for example. And then I go for mesh name because they grow power one, underscore low part to underscore low. And then par wanted to score high importance for high. And if you want to change those suffixes, you can change them here. Okay? And that's it. Now, you can select all of these depending on the power of your computer. You may want to stop, for example, with only normals. Okay? And then you come back and come here and you go to own for an occlusion because these two are the heaviest ones. And then you go for the rest. My case, just going to have everything except for ID because I don't have an ID. I just say, you know, IDs Would you go, for example, in Blender and you add colors to the different surfaces of the mesh. And then that's going to work like an IT to identify every single audience soul. But I didn't do that. So let's just bake selected lectures. Is 6 all the six in this case. And we wait, and the baking is ready. Let's start with experts. Now. 40. 39-Texturing: We are ready to start texturing. Let's bear that too. What happened here? Okay, we had the low poly and K. We used a baking option here in substance painter. I would make all these maps over here. Okay. So for the IT we're going to use IT hour with it is that we protected those features from the high poly into the low poly. And I told you to remember these power was actually super smooth. But this part, the low Pauline was very fascinated leg, very low poly. So one of the issues that we're going to keep a in this case, because it's just for the purpose of demonstration, is that if you have a topology that is too low with polygons, are you are likely to have those details like you see it is, you can see the cuts. Suppose somehow the angles. Here, we have more geometry, so it's more difficult to see those angles. Okay, So software you want to take into consideration if you're working for phone K mobile game, for example, you're looking for a tuple lake, okay? And then what your model is for o for animation. Okay, Now let's start texturing and I'm gonna explain substance painter as easy chem actually is a super nice program, super friendly. When I saw Larry substance painter, I will watch videos and the people would say it's very similar to photoshop. And while it is true, I had a problem is they didn't know how to use Photoshop, so I hated that comparison, which is why I'm not going to do back comparison right now. Okay? So what do we have here? We have the layers. Remember the two, they wanted to kill yourself at all times. That is because we're going to use this substance painter world with a system of layers. That means though we're going to put a layer and we're going to do something. And then we can put another layer on top. And if we put it on top, it's actually on top of our model AAS, well, okay, so that is going to allow us to combine effects, okay, to combine colors and a lot of things that you will see in a moment. Let me start by explaining. While we have over here, this is called a paint layer is the one that comes by default. What is meaning of paint layer will very simple. You have the paint layer and you just faint, okay? And the color, which color? Well, down here, and you change the color. So you have available here, you have base color. And you can also bend, for example, roughness. Let's say that we are going to make something that Sarah roughness, okay? And with height, who's going to see what happens? Roughness means, how shiny something is. Again, the lower the roughness, the shiny rate is. Base color is just to color has maybe read here. Again, this is like the result that we're going to have. Notice here. Now, notice the difference. It looks as if he had his IEP. Sorry. It looks as if it was higher. It because he has height. It has a red one. And it's shiny because it is he doesn't have any roughness or very low level of roughness. Let's go here. 100% roughness, change the color to blue and the height. Just for fun, I'm going to put it like this super low. And we're going to do it here. Okay, so there you go. What's happening here? This is the paint layer. We still pays something that we can change the features and paint something else, everything in the same layer. I don't usually use these kind of layer. And you'll wonder I use is the fill layer. The thing with the fill layer is that only the paint layers and I'm going to paint is going to feel that means that everything is going to be the same. So right now we have a very default setting. So we added this out, we didn't see any changes or let me just add some metallic effect here. And notice that it's affecting absolutely everything. Okay, let me review the roughness. Super reflective. And if a move high since discovering everything, nothing's going to happen, we're not be able to see anything. Okay? And if I choose a color, going to change everything here. So fill layers are usually used with mask. Mickey had masses is like a real mask. What does it do? It covers your face. He doesn't let people see your face or pretty much that's what a mask does here. Okay, we're going to add black mask and mass will work with black and white. A black mask method, everything is black so you don't see it, okay, our white math means you can see everything. Because this black and white, every time that we have a black mass and we add white. That means that we're going to be able to see that part. So let me show you here a black mask. Now you don't see anything. Right. And here in these black mask, I have a paint property. Okay, so I guess I actually painting in layers with the paint layer. But what's the difference? A gum here. And I change the settings. The blue. And it's sitting here too. Okay, so it's always going to change the contract just that could use a light fill layer because we use fewer layers. And then we'll cover a specific part of the fill layer. And then we started tweaking things and we can see the changes in real life, real time. You don't need to be like experimenting, erasing I'm drawing again or painting again is going to happen there instantly, like this, for example. Okay. How are we going to use paint layers or fill layers and all the stuff that's closer by set. Let me erase this fill layer because we're not gonna use it. Okay, and let's see the beauty of Substance Painter. We come here the shelf, whether you have it out here and it's going to show you what a shelf is. You have a lot of materials and these are just a standard basic materials. Okay. I'll all you have Teiresias, click drag and drop here. And then I use a smart materials because that's the cool part. So as how materials here, hey, I have a few more that you might have because I have imported and save some materials. But don't worry, you will be able to find them. You will come up with your materials, doorbell it again. So the cool thing about small materials is that they adapt to your model. Okay, well, let me show you this. I'm going to use this when aluminum, aluminum under the eyes to read and just going to click hold and drag here. And I close this, and now I have it right here. Okay? So i small material is a folder pretty much with a bunch of combinations when this gives you only have to, okay? But these combinations, they are like presets, so you can't use them or you gave them, modify them. In this case, I'm going to modify this a little bit. And I'm glad come here to aluminum, which is a base color. It has base color has met Ralph normal high-technology going to live with that. I'm just going to come through for the base color and instead of red, gonna get a blue. Okay. Now, I don't want my hold shield to be blue. I don't really like that. So here the folder, I'm going to right-click and add a black mask. And with this black mass or a goat students, I'm just going to have some fun. And then kind of star drawing on top of this gem. Okay? Yes, like that. You see? So what we're actually doing, if you notice here, where painting white, since the mass wars than black and white within that would pin with widen this case we cannot choose a color, so don't worry about that. But it's nice theory to know for other programs as well. But we color with white in a mask, image has gone to show what it is hiding that part. Okay, so does belong to our painting here. When I speed up the process and I'll show you when it's ready because it's just painting. Okay. So it's pretty much ready. Obviously, I didn't do the best job or have these parts of it here. There are contrary dome and are not supposed to be there and have these part over here. So what can we do? Well, we can move this bar from one to 00 means black. So that means it's going to start hiding things. And one is just, it's gonna start revealing things. I could also press X. X is a shortcut to go from 0 to 1, 0 for 1, 2, 0. And then gone to start now, polishing those details. And there you go. So obviously there are other ways to do this a little bit faster to be slower. I'm just going to show you different ways step-by-step program. So again, accumulate this. It will get actually come here to open the folder, come here to aluminum and maybe add some value, release some saturation here. Okay? Give more or less this. In fact, if we only print color over there. And that's it. Now, let's move on to a different part of the shield. 41. 40-Texturing metal: Let's now create the metal. Okay, so we're going to create the material does font to be for this part of the year? They did dome, the border and also the back part, everything except this over here. So I'm just going to close this folder. And I'm going to add a new folder. But this equation inside or product, blake Hold and drag it out. Close to this one again, I'm going to add a fill layer, will erase outside. I'm going to put it inside a folder. Notice what happened. We luckily have what would the Eleusis just that these field layer is on top of this it on top of the aluminum. Again, it just changed the name for this double-click. And we're just going to write here, Jim, oops. So is the fill layer is on top of this, all these materials over here, but we can just drag this and put it right on top. Notice other photos, but on top. And there it is. Okay. We can also use mass. Okay, bye, didn't want to use Massey thing since this is on top, the jammies on top of everything, it should be on top here as well. So technically we could say that there was a last day I should have textural pattern. I just wanted to just for demonstration purposes. I want to show that. Okay, So we're going to make here the metal. And the first layer fill layer where we're going to have is our base color. You just change that here. And this is the base color. I use is when you start being creative, you can use any color, okay? No problem. I'm just going to give for metal. I'm going to give it the color. I'm going to keep metal obviously. And then I keep the roughness. I'm not, I use normal and another gonna use height. Okay? Because again, this is just the base. So again, since this is metal, I'm going to put this to one. Initially the value here should be between 0, should be only 0 or one because is either metal or is not metal. Okay? But today, because we're looking for which particular kind of effect we have all these percentages in-between. Roughness. Well, we can have a raft or no reference at all. So shiny, I don't want it super shiny. I think. Like this is enough. Okay, so now you start playing with this to see what's more Committee and later on when you were working on and thanks, you don't really like it. Now brown, you can change it. I'm going to change the color. And I'll go here. And just in case this is Barbara here, this is the color. Okay, this is the saturation, is the value. What is the meaning of that? Let me just come here to a quarter so everything is easier to see. Okay? So here we have a specific color that is fully saturated and that it has full value. Saturation means that is vivid or is muted. My grayscale. Okay. I'm value means it is, it has a light or it is super dark, it has no light. And again, the age is hue, which means any color of four here. I'm just going to come here because of the engraves gray. And yeah, I think that actually that's where they can use move this over here. And I think that will do just fine for now. Okay, so there we have our base color. The next thing we want to do is to add some dirt. The thing is that we need to keep in mind that we want something too. We just don't give a color. And that said, you want to give different layers of details to create our story. Okay? So it's a shield she'll supposed to be used in battle. So in it some dirt has gathered through our battle, so we'll create another field layer. Here it is. Okay. Well, I'm going to remove metal, I'm going to move Nora and contribute height and quantitative roughness. And I got to leave color for now, I think I'll turn it off. So right-click here and we're going to add a black mask where we want to apply a mass because we're going to use, we don't want these new layer two over our county or layer. Okay, we don't want these videos to cover the what we just did. And we just changed here and right there. And in this and just going to right-click on top of the mask. And I'm going to go to add generator. The generator where we're going to do is to add dirt. Okay, so where are we doing here? Well, we create a mask. The mask is going to cover everything. If we go to. A generator which is like a preset mask. Okay? So I shall so partial sum of the parts and know and I'll be showing you some ports are black, some par, so white. And this is going to help us with it. Okay? So notice here, if you pay close attention, we already have some details. Let me just change the color here. Something dark so you can see more clearly. Actually, I like that color. Let's keep it like that for now. Now. Roughness, it has to be pretty rough because beard is usually its refer them the model itself. Okay. And I'm going to click here or this at first I click on the mask to get this option down, click here. And I start playing with the valid because they think it's way too dirty. Way to 30. So first of all, I'll click here and see what happens. Maybe it's more convenient, it is not. Let me just play with their level for awhile. And notice how things start changing things. So that actually looks nicer. Contrast. I can invert this if I like that better. Not really, but I tried. Okay. Here's the garage amount. If you want to have more branch and you can do it or if you want to reduce it, think there is flying there because they wanted to be present, but I don't want to overshadow everything and again, increase it. I like it better because I can see here more clearly. Okay, Now, notice that this is actually affecting the world as well. Okay? So we don't want that to happen at the idea is we want to use or like other mass and stuff like that. But let's prevent these material from affecting the word. Because sometimes they combine as well. And we don't want that. We want to add a black mask. Everything has disappeared. And for these black mass, we're going to select what we want to have as a metal. The situation if we start painting, it's going to take a very long time. So while other ways that we have with their options are there available. But we come here. We click here. And again. And notice that we can see that our wireframe. So we have triangles. Triangle means there is going to fill in triangles are very useful. We have quotes. And so Frankel's, but again, we could do that. Yeah, but not integers are actually goes beyond because this both to their site as well. These kind of rectangle, we don't want that. Well, we do want, is either this one or this one. What is the difference? This one works based on the UVs. So if I click here, selecting this part over here, because remember we made this cut and it's not there. I think everything else. And then if I click here, it looks like we're out there. It's just going to be the back as well. Okay. There you go. Buckling. We are notice I went all this way or you didn't go to their side because we made the carts here in the middle. Now what is also works nicely, but this one, in our case is perfect because it's gone to select our or our mesh. And I don't know why it's there. It's in the back part. All the time. You see here you go. This is also metal. Oops, sorry. Both matter. And this is awesome at all. Okay. We'll go to the back. This is metal. This mirror also. There's not a metal. Oh, no. This cruise. The area at all swell. Fas is are you seeing a bad happened too hard? Race like a very small box selection. Use tab in nicely and it doesn't go to the path. That's the brown that having happened. Now when I select this as this is now going to be made of metal row. This one is not. Suppose we just go for my mouse is if I make it easier now, let me just click here. All right, Well, it wasn't 0. I need to press, I needed to press X. There you go. And almost there are more than these ones, right. Okay. There you go. So we have the dorm, but not the storm, even though they're the same geometry. Why? Because it Jamison top, we have the spot over here. Either at the anchor with all the anchor, we have the plate and we have a border. We have the handles, everything but this over here. And let me slide this o and said. 42. 41-Texturing metal - part 2: Okay, but let's continue working with this material now. Since we have already used our mask, you can just, I'm here, play here, and continue working. So for now we have our base color and we have there it will regard to do now is to add some awareness. And again, we want to wear off the edges a bit. Our gone through that, well, we're going to use a fill layer. We're going to turn everything off. Oops, Alt click. We turn everything off except for they wonder you click on. Okay. I'm going to keep this color for now. I'm going to use a black mask. I'm going to right-click Add generator. And one bone to use is curvature. Okay? So what does curvature do? Well, what it does is that it takes into consideration the ages that, okay, here grow false. Just going to do it all for now. I'm going to verify the balance to see how things change. One to true. In turn is going to be better, not because his image affecting everything else. And we can also play with roughness. Roughness will make the border super shiny so you see where his work okay. I don't really want that. So we went and go somewhere around here, saving, Let's hold off for a moment. There you go. And choose make it darker. There. I think that's nice enough for the ages. Okay. And this we're going to call it elsewhere. All right. Well, you guys, you'll play with this a bit more to see. Actually you can find and fair, do you like better? America, some blur. It's not like super solid vehicle. But let's add some scratches. Let's go for a fill layer. Obviously. It's always, again, I turn everything off except the height. And I'm going to move the eye a little bit down like this. Okay. I can change this later. No problem. Why the height? Because my scratches, I'll do not have any color. Okay. They're not gonna affect the metallic structure of already, they already have the minor real effect of roughness. We can change that later. Certainly no normal and the height, the height is a wonderful quantum. Modify it to make it deeper or higher. Okay, so we're going to add a black mask after these black mastery to add fill. Okay? So what is this doing? Okay, first we create a black mask to hide everything that whatever we want to do. And then we're going to demonstrate or show that death, for example, the deaf from the height. We're going to show it according to what we put in this field. So then I come here to this shelf, Okay, I got it branches. And they're going to choose. You can choose wherever you want, okay? Use have one that I really like. This one, I realized this one. So let me just move here and just click and drag and drop. And you can see what's happening already. Since we added some decks and yeah, some dead when he impure to hide. It does, the model is to win. And if I move this, become more intense or big, get some height instead of death. Okay, so I'll happily like this. We can travel car if you want to. Are we going to have it like something like this? Perhaps? I would can also add some roughness. Let's make it super shiny. It doesn't make sense. So a query like this, not really happy with this to be fully honest. And I actually prefer like this, Yeah. By never use that again. So there you have this scratches and then you can come here. And again, you guys are playing with an inverted you want to be or yes, I play them with a mound. The intensity, you don't want like this super exaggerated you want to showcase. So there's been fight. So there is that we can reduce them scratches and you can add some blur. That much, I would say. That's okay. And there it goes with crutches. Because rename, this too is scratches, a practice renaming everything. So now we're going to add some artificial light base on Bakelite that's going to make this to have more light. I mean, that's what it is. We're going to add a fill layer. I'm going to turn over everything and I'll turn off everything except the color. Okay? And I'm going to right-click, are non-linear mass because it's going to affect everything that is metal or just on parts. And then call to go here and add a filter. In this filter, I'm going to turn off everything as well, just going to leave the color on and in the filter and go to select the second option over here, bait Latin, sailing east. And there you go. Okay, So notice that the frescoes, which soon are we can choose a color, whatever we want. Okay. Oh, something gray or light and not something like this. I think we'll be okay for now. Actually still reddish. Just keep it here. Now you go. And again, we turn this off. Everything except color. And here in south sky, because our play with the values here and see what's more convenient to you or you like best when you can put a super high, which I don't really like the idea. And if a producer for low, he had died well, but something in between. And I can actually saturating some even more. For worse, the gray or reducing the body as well. And there you go. You go. The difference. Yeah, I think I still think it's too strong where we can reduce here this guy intensity. There you go. There. Now it looks better. Yeah. It's so one more thing to add here, Ambien inclusion now, how many Euros? Okay, so yeah, You're telling me to add Dirt, the Intelligent Edge were to tell me to ask scratches. Now you told me to add a light. Thank you very much. I appreciate the car and the head, the suggestion. But that now I'm going to tell it to ambient occlusion. And then you might be saying, how do I know what to write? Well, there are different ways. One, you study the materials. Okay. Actually when I started with Southwest painter before SO substance painter, who was this guide about physics and the staff that I rarely, never understood anything. You can do that. That's an option. Or am I just call you a black mask? Or you can do like this. For example, you create your material, okay? And then you save Enter there you have your honest more material. You can get. For example, the Doesn't YouTube video, you can copy this. It's a matter of practice. Okay. So there's nothing set in stone. It's not like I'm telling you this because this is the right way, because metal is on this way knots because this is something that I know, I know gives me a good result. Okay, so I'm gonna add generate over here. Did you, there's going to be a General for it had been a push in. And you go. So what this does is give us some nice shadow and materials here, amateurs, amateurs. And as I'm moving this look, notice this part over here, especially this poverty here in changes in 12, but not because maybe like that, I don't think publish been affected forever. Collision Yes. Is making either. Ok. And now some blur. And the strong balance a bit more increase. And there you go. Okay. So there we have our material. You can press and hold shift and drag right-click to move the light of your scene. And you can see how the light affects everything on different angle. If you go to a backdrops, I press one button, sorry. Go to the back. And you can do the exact same thing in our lives effect. And there you go, tomato. Okay, So think recommendations. Obviously you always continue our base color. You may want to use. Third, depending on the karma trade, you want to put a lot of their muscle much. Okay? Edge work depending on the material, B has edges, you may want to add some words to it. For Metallica stuff, usually want to scratch it, but let's say that you are texturing a vehicle, for example, age, you might know want to add those scratches. I usually add scratches because I worked with weapons. Okay. So that's why this is a must for me. Sometimes you may want to use light and artificial light. Horse monetized noise depends on the fact that you get okay. But how do you know is trying My say, You know what? I prefer it like this. I really don't like, I don't know why KD. So in this I really don't like this, but just know that I use that light as totally valid. Okay. I don't know occlusion. It is actually recommendation because it gives certain depth and realism to your model. So there you go. Metal. Next, we want to work on wooden. 43. 42-Texturing wood: Okay, For the word, we're going to create a new folder, not inside but outside, can be here. A problem. And inside the folder we want to create a new layer inside the folder. And notice that this fill layer is taking over everything is at the gym because the team is on top. This first and I'm gonna change the name this, I'm going to change the name for work. I'm now going to add a black mask. And just for fun to see what I'm doing, I'm going to click here, I'm going to make this lac, okay, Again, just for fun. And I'm going to use SAR, adjusting the mass to what you want. And I come here, this is fine. Click. And I just select all those Styrofoam to be winner. Now blackboard, interesting case, I'm told to be afraid. And now we can test our work. Okay? So I'm not going to use metal because this is non-metallic. So purple male to 0 or very buttery raphe is going to be the same thing. I'm not a US normals and I'm not going to use height. I remembered this part at least in so far as they're going to get the color. I'm going to come here some nice reddish brown thing. Okay. Is something here. I think I want a nice There you go. Every some more light. So I use increase in value there. And the roughness. Well this is pretty shining. We don't want a shiny, I actually want a super rough. I'm more or less, they're going to be lower. That's okay. Okay. So there you go. Our base color, just like before. Now, the good thing, the interesting thing about word, if you are the reference that I showed you before, is that it doesn't have just one color. You say wood is brown, for example, where it is reno whatever car wouldn't really is. But if you pay attention to it, it has other colors inside. Thanks. It's not just it's like one dominant color. That will be the base color. It also has other colors, like secondary colors. Okay, so let's add those ones. So the mira fill layer matter if everything off, I don't want to deal with promptness anymore. That roughness is fine. Okay, Here's the color that I want to modify. Okay? So I'm going to change the color here very much. But remember what I had. Let me turn this off. Let me just come here and select this. Not the same color, but his close enough. Okay. Now I'm going to start playing with this. I don't want to go more towards this direction. Something more orangey saturated. And also Brian, that's okay. One that we have right now that So okay. I will get always changing kids who say like is we notice it looks weird. So now we're going to add a black mask everywhere. The thing with color variation, I guess said we have a dominant color that is the base current. We have other colors inside. Okay, so then I have black mass. I'm going to tell it back maps to show this nude color, justness specific parts not everywhere. How they do that? Well then I have fail. Okay? And in this part here, I'm going to add a notable here to procedurals to see all these options that I have. And I'm going to look for one battle that resonates to what I want to do. Okay. And I choose something that looks like would somehow this one? No. Oh, I've got this one. By this one. Okay. He just drop it and close this. And notice what happened. We have our dominant color. Now have those traces of the other color. Okay? We can invert this if we wanted to. I don't really want to create a balanced reduce bells are reduced contrast. And that's okay. And we may want to add another, those hardier our variation. And I think I want to add another color variation. Now notice this is just something that I'd just coming up here on the spot. Okay. Based on what I see in my reference. So I'm going to add another. Fill Layer. Now right here, our variation too. Okay? I'm going to turn everything off except for color. My color is going to be somewhere around here and something lighter now. And I'm going to come here at a black mask and whether it did before, we're going to do before I added the fill layer various field. Now if your layer, then I come here procedural and I know that I used, I shouldn't use the same one. If I use the same one, obviously is going to be on top of the previous one I used. This one is one highlighted so I can use I should use something else. Maybe something like this. Could be something I would be something that gets me more spots rather than something like this. Yes. Okay. And what I'm going to go to Inverted balance, I'm gonna increase it. But notice that we have base color, we have one variation. We have a second variation which I think is actually a super-strong. Let me try something here and right-click. I'm going to add a filter. And that filter you want to add is use a regular, normal blur is 12. There you go. I want to grow things a little bit there. And things to exist. But inverters little bit more complicated. This come here to net placing version. Oh, I'll select the Quran. The ground filters are Explorer here. And now what it was doing, something weird. We just come back here, turn this up until I set the burner. What happened to me on? My eyes are betraying me. And you. Or you want nobler or usually a bit of a there. You don't want too much because you don't want the details to this up here. And if you don't use any, obviously is headed out and you read anything or you go. Okay. So they have a third color variation. And didn't see this part. This is this over here. Elements. I mean some blurry here as well. At Filter Blur, not bevel. Let's just reduce depth now you okay, I'll either way this is looking eyes. I like it. You don't like him. Sorry, I do. And let's move on now to add This is good. We're going to add grain, you know, it will bring it down, you will see in a moment. So what we're going to do, again, another fill layer is to notice is that the beauty of working with fill layers, like you walk on the field layer and it's going to do lots of things for you. You can assume pay on bad guy, you can assume a modification you wanted to. And what the field layer. Again, you show and everything but color for the fill light for the grain, I'm just right here. Everything but color. And while that actually is a correlator, when a black mask, this black mask, I'm going to add a fill. And in this case, going to play with what I have to come up with something new. So I want something like this. This one spots, I one spot. And if you think about what you say, what do they really have spots, right? But you will see in a moment now, I'm going to play here with the scale. Notice is if I reduce the size of a texture, you see We're details. And if I increase the size of the texture, you see more details. Something like that is fine. Now going to play with the color. Again, this is part of the word. So I'm going to go a little higher here because I know that I know from experience that orange is more somewhere around here. And notice and think something like that, a little bit darker than the rest. And one more thing that we want to add to this mask, the filter. And that filter is a bird, but not this one. It's directional blur. But does a rational brewer, what does it do? Very simple. It blurs a specific direction. And if you chain here is that I changed the angle. I don't know if you can see that the modification that's happening there, we just change the color here and make something super obvious. That's the grain that we want. Okay, Oops, your learner directional. By move it. Notice how everything rotates. Obviously, I don't want to rotate anything, so I'm gonna do it in 0. I don't want that much blur is something like that. And now let's get the desired color. Actually, this would, this color is nice. There you go. So there we have added some grain. Okay. Let's add some curvature like we did with the metal. Okay. Let me add here. Yeah. And I turned everything off. Black mask. You're going to add a generator. The generator is going to be curvature. If you have a curvature is to affect these Parfit here. But notice right now, super strong, I'm just going to increase the strength of that to say what exactly right there. That's it. Those are the parts that I want to effect. We're gonna increase the blur. I'm going to decrease, melt again. I'm not going to change the color because those age as they are somehow Warner. If they're not, they are affected differently from the rest of the word. So we can have with something darker like this. Black, pretty much. We recommend word and go for simple glide and something black, reddish of there. That's why. Here you go. You see that this is what we then. Are you easy? Easy. Okay. Now, these marks that we have over here, there was sculpted. Let's add some more strength to that. Okay, how are we going to do that? Well, here's a way that character affects this. There's something specific map that we bait that it's going to affect that part. And I'm going to add a fill layer price. So price, I'm going to turn everything I would say color and I'm actually going to use height as well because they want to make things more obvious. Color, something lurking around here. So same as before. I'm going to add a black mask and a generator. This time, like I said, world space normals. And their IPO. Play with this word. We don't want that inverted. Notice how the marks move. Right? Do this. Then I want to make them even more. Hence. We know so much. And the colorant thing is fine. We just see not identical sisters point right there. Yep. I'm color. Nothing. That's it. Let's add one more thing. Well actually two more things. First, a fill layer and this we're going to call it a o, as in ambient occlusion. Here we're going to turn everything off except for the color. The color we're gonna make a very dark one is we have somewhere around here. And we're going to add a black mask. So we're going to add a generator. And Nigeria is going to be I'm going occlusion. Okay. I got everything got super dark. Let's invert that. And thus the effect that I want here, obviously softer, which is noticed that shadow forgotten group, we're going to increase here because very important. Let's go like this. Now, I actually prefer to have the global invert as true and increase the volume working bear it to what I want. There you go. Okay? And the last thing we're going to add a gradient, okay? The gradients going to help us guide the eyes of the person who is looking at this. So let me just come here, add a fill layer, change this to gradient, gradient, oops. And then leave color. The color is going to be very similar to the word. Let, let me just come here. We're going to add a black mask. And for gradient, and we do is we are a generator but there is no dealer named gradient. We do have something though called position. This position is what's going to help us go away invert. And we're playing with balanced. Look at that, look at that, how dark is here, it's darker. And here is brighter. Actually going to burn that because the one darker to be on top. So notice here, now position O bound. And then I start adding just a little bit acid. That's enough. And we are done. We're missing one thing that we have next. 44. 43-Texturing metal - Adjustments: Okay, so we're going to do their part, actually do something my eyes with that metal. We just come here. And I'm going to change the blending option. Blending option here is allow us to change how we look at things. Okay? So we have normal is obviously normal, and here we have other modes. And for lights is very light. So I'm going to go here, poor satellite. Notice that I shall looks better. Initial. Increase those a little bit more. Now, write something there. Let me just drag it. There you go. We add a bit more. Jews, went over the edge there. Okay, good. Now let's go and work on this last part over here. This is a very super simple. Let's not suffer less now make our life difficult because we have system painter to help us. And what I'm going to do is here smart materials. And we're going to look for some of these letters over here. Just take a look at that. By, if I choose, Hoover is going to give me a bigger picture of what the material looks like. Like this one. And I'll use this one, is going to put it here anywhere except on top of the gem. Now, everything that we did, it's made of letter. Let's just add a black mask. Obviously. We're going to click here. We're going to select mesh or poly mesh or an object like here. And that's it. If you want to change the color of this or somebody tells you you can just open here. Next, I'll play with this. Now that you have here the color, you have a feel. Okay. You have your letter pattern, which is pretty much the paradigm you see over here. Kinsey scale and change it. Look, i that wasn't three suggests currently with default. There you go. And damage to the starving. You want to modify some of the U-Dub. You're happy with. The DA here in this case is just to, not to start from scratch, but to start from something already there and just make the necessary model. Okay? And that's it. 45. 44-Rendering and exporting textures: Let's have a nice render hearing Substance Painter, just for fun. I'm just going to adjust the light Shift and right-click and I start dragging to see what looks better for me. And I get like a nice angle. If you want, you can highlight the front view. A big found that I won. Something like this. I think, I really think this is like the best view. And get the light. That's somewhere. Yeah. Very well. Okay. Actually have close up notice this semester is so we'll go to metal ion of you may say I did. I would just click here. Click here, and we don't have to be called the ward again because it's just a field layer over there. And that's to render in Substance Painter. We click here this camera. And we're going to use irae. This is just again for fun. I like to visualize how things look here, okay? And I don't like to shoot the background. So what this is rendering, which is going to rather only for 10 seconds or one hundred, ten hundred iterations. What happens first? Obviously ten seconds. I should just change the stair seconds to 120 seconds to minutes. I started taking things here. Make sure that the settings are what I want. If you want to show you all the way from your model, you have to activate this before entering reading mode. Just so you know. And I don't like the bagger. I've never liked the background. Right here. Their color. Now that our background. And something else we can do while ears rendering is After Effects. Go thing about partial effects that you can modify them and you can play with them, adjust them, and they're not going to affect what is happening in your renter. No. Like you just happen when they click through remote background, you start reading from 0. B's, that's not going to happen. So just for fun again, because we're going to rather in marmoset toolbox. So we're going to add a vignette here. Like I mean, yes all the time. Depth of field. So I rather feel when maple whatever layer I was idolized. Uh, yeah, just for fun. And you're using case whenever you have something else in mind that may work better. I don't think this will work nice here in this shield. I mean, it takes away realism. This is W like, I don't know if you saw clash of Titans. Big Eustis in fact on the, on the gods, especially in zoos. Okay, and just note a half this. And it's almost there. Once this is done. And you can save the render. And that's it. There you have a render. But what we're interested in is not really rendering is exporting. We need to carve substance painter, substance painter already there what he had to do. Thank you. Such as venture with post-processing effects, stayed active. Okay, so are we going to do here, so we're going to come here file. First, we're going to save, because you always should always save. Now for that, we're going to export textures. We are ready to export the mass because we already have it. It's the same shield law that we had renally. You're gonna export textures. We're going to choose the folder there were gone to war or textures, which is going to be here in this folder, I'm going to create a folder called Textures. Will click Select Folder K, Hami. Here, you get the output tablet is a lot of presets depending on where you want. Or Marmot said. Four. Stuff in general, to be honest, you may want to use AVR. Roughness will be our metallic roughness. The file type, or you choose this one. I go for PNG, which is now compressed. Ebit is fine. The size it says based on East extra set size. Remember that we already said that a naked told you at the beginning. At the beginning we started to k. Then who sell it to k? Again, we don't need to get married here. We can go for AK, we want are going to go for, for k. Okay? I'm here. Here, we're just going to select Relation plus transparent. Okay? And I'm gonna make this eight. That's fine. Okay? And that's it. We don't need to do anything else you're seeing case. You want to change something. You want to come up with your own templates. We have to read. You can come here to apple templates. You have all these resets and you upgrade your own PVR. Metallic run roughness is that whether we're using both are revolting and we're going to get the base color, Roughness, metallic, normal height, which we're actually, we're not going to really use it because we have normals, an emissive which we're now going to use either because we don't have anything emissive here either. Okay? And that's it. So we just combine a list of exports. Is the father are going to get the exact name of the Father. We're going to get a resolution that format, and the beds settings export and we wait patiently, and it is done. Finally, let me show you where we have go. So we have the base color. This is where we go from Tesla battery, everything is 4k. We have the height, like I said before, we're not really going to use this one. We have the metallic which is going to be black-owned voice had been grayscale depending how metallic something else, something is the normal maps and these are all the details are we going to have? And we have also the roughness and K, which she's also gray-scale depending on how dark or how white something is going to be shiny or not. All of these for the height, we're going to be using a marmoset tool bag. Next is called Tomorrow set. 46. 45-Finishing exporting textures - part 2: We have already exported everything, but there are a few things that I want to do it. The first thing I want to do is to mark these edges have been more when I come here to the wood material and I'm not going to add anything. I don't need to. It what I'm going to do is I'm going to come here for the ages and want to make sure this is the one and gas. Notice that if I turn this off, the ages get wider or paler and here they get darker. And the thing is that I'm not really happy with that result. So let me just come here to curvature. And I'm going to start playing with these values over here. So I'm going to remove the blur. Want to see how dense things can get. Increase the contrast. There you go. I don't want to, I don't want the Boers, the planks together. So dark ages where it wants. So there you go. Okay. And I'm going to reduce this a little bit because I don't want to have that much marks over here. It's okay to have them because you can say like this, there can be like dared or wherever they gets from the, the, the union between the boars and the edges here. So that's fine. But if I use this blur now, it kept this and I don't want to get that. He's going to turn up w're, and I'm going to get a filter. Right-click here at filter the altar. And I'm going to select just a normal blur. And that's it pretty much. I don't think you need to do anything. Actually just reduce a little bit. And that's it. This is one thing that I want to do. In. Next thing that I want to do is I want to fix while we're here for demonstration this are that doesn't have a lot of geometry. If we call it this tomorrow, Saturday, we can do. But it's not a it's not on a little bit nice. If we look here, it looks fine, but we'll look from the front. You can see all this, all these points of these marks are there now really appealing. Okay? So I'm going to show you how to fix this, okay, but for now we need to go to Blender. So we're back in Blender. And again, this is the hyperbolic. So we want to East US work in the low poly, okay, this one over here, and I select this bar over here because this is the part that has those hard edges that I want to have. Okay. There was a way I have those hard edges is because I don't have enough geometry. So I'm going to call to edit mode. And I press two for S Select mode, alt a to deselect everything. I'm going to Alt click and then Shift Click. Let me, oops, sorry. Let me just turn on the screencast keys in case I forgot to mention something. Okay. Chafed. All click. And I'm going to isolate all the subjects edges, sorry, not these ones, not the ones that have the arrows to Colin's man. Okay. For the anger. Why am I, why am I not selecting those? It is because there is enough geometry there. First, second, because here I have the cost for the UVs be due to not want to mess up with that. Okay. So let me just I what am I going through now while going to make sure that all of these getters, smoothers and there are bevel, those ages, they're all selected the same time. You're going to beg all the same distance. You so Control B. On iOS, I'm moving my mouse. I can add more geometry if you wanted to. I don't want to do it in That's okay. I'm going to make it a bit smaller because I want to have a very similar distance between faces. And I think that's okay, just eyeballed it and notice a difference. Okay, this is quite smooth. Or if you want to add more geometry, you can do it here. So depending on the project, you will decide where your knee you have room for more geometry or not. I'm going to select everything. I'm now going to export. I didn't touch the carts of the UVs. I didn't touch to UV, so everything's pretty much the same. B. I'm gonna go to my folder where I have everything. I'm going to override this one shield, low selected export FBX. And now we go back to Substance Painter. We are back to Substance Painter. On these browsers are the one that we're going to try to solve it. The ones that you see here when it happened here is that the hypotenuse curve is nice and smooth and the low poly is super hard. And that's why the baking here doesn't get that nice. So how, how are you going to just change everything and make sure everything we're having lost like everything we have done. We come to edit or your configuration. And here regard to select our new low poly. Okay? Here's a producer because sometimes it happens like you do something that you realize you mess up somehow in geometry where you don't have enough geometry or maybe you have flipped through normal somewhere. And then you can't just fix that in Blender. Create your new low poly and bringing here without losing everything you have been working on. Okay? Just select the low, low poly model. Press. Okay. And here you have now the low poly and it's adapting all the textures. Now you may notice we still have those marks. Okay? Well, it so happens that even though we have the same UVs, the bacon was not done on top of these low poly. So we have to do the baking again. You come here extra set settings, we scroll down bake mesh maps, everything selected the same high poly by mesh name. And just bake selected and wait patiently. Okay, we're ready press. Okay, and notice the huge difference that we have on these edges. Okay? Okay, that they so different. Now, obviously we already Explorer textures to textures that we support are different. So you may come to File Export textures, the corresponding folder, the corresponding configuration, and we just click on Export. This is the same settings that we had before. Okay, everything's ready. Now. We're finally ready to go to marmoset tool bag. 47. 46-Preparing for rendering: Welcome to marmoset tool bag. Maybe this is going to be our render engine. So we're going to export was are we want to import our model again, the low polygon as well with textured as what we paid it on as the one we want. The high poly looks nice, but it's pretty much useless except to look nice. Okay, So we're going to import model regarding voltage corresponding folder. This one, I really want to import that low version open. And here we haven't. Okay, so there's what we have here. We have windshield, it, we have our default mature the countries with mom of a tool back and we have our material, the one that I cover the shields. So let's just erase this so because we're not going to use it, the shield normal, we click here how we look for our textures, which are turnout texture folder. And we'll select normals. I have to normal 0. Why? Don't know? I'm going to choose this wasn't aware. And nor do they lose. Kinda weird. And the other thing is that you need to keep in mind that when you go from Southern Spain, true to ModelSim tool back, do you need to flip y? And that's it. Now, everything looks like, okay, we're now going to use clause, but we're using roughness. We come here. Roughness. I will select the roughness map. Okay, there you go. I'm finally albedo. Is abuse another name for cholera case. So we said base color. And there you go. We have our colors already integrated. We have a roughness degraded. We don't have a specular, but we do have wholeness. Okay. It's everything looks dark now because everything is supposed to be metallic. Is level 5. We click here. We have this metallic map. We open that one, and there you go. Okay? Now, rendering is just an r and so on. Okay? So the way I like to do it his way this first, I choose the angle. And so, uh, one, uh, may read there's going to be this one over here. It is ACO Athena's. I was fine. I can come here to the main camera, which is the one that I'm using right now. I can come here to, I'm going to choose close this for now. Go to limits. Okay. I mean or repaired and limit or we jaw and crew center on View. Make sure that the center I'm based on that and got to make sure that my model is centered. Say me that how to put it here because it's lovely centered. Okay. I'm going to put him more or less here, I believe will be the yellow center. And I don't think so. Okay. I'm going to have it like that. And what I'm going through here is that I'm going to lock my camera. I don't want to move it. Okay. So now my well, first let me unlock that and remove the limits. The font is strike me. And I got a lot guys. So now if I scroll up and down, just cannot move here. Okay? Now I'm going to go to the sky. I like to use this one in particular, quota coincidence is selected. This one is in case preset. And this one carved with Martin who said it is indoor fluorescent. Think is really altro. And I press Done. And what I want is by this, a wild, a light that lights the model itself on as many lives as necessary. There shouldn't be more than two or three lights. And again, general to light the borders. Okay. So I'm gonna come here just to this picture. And then I click and hold. Notice I've just already greater light. And then I'm going to try to place this light. Looking at the model, none of the picture, I'm going to look at the model, see where it can get a good, the most convenient one. That one looks pretty much centered. Okay? It is nice because it from the top because lies, lives doesn't usually come from, from from the from the bag, usually come from the top. Okay. And we might say it's a little bit strong and I don't like the background. The background is too low, so bright, so inches here, backdrop, rightness is not going to make my picture darker, but it's going to be my background darker. And I'm going to have it like that. And then I come here to light. These light is going to cast shadows, but these shadows are too hard. But just gonna increase here the width is part of the year is growing. Don't worry about that. And just make sure you get that night. That nice. Let's say diffuse shadow. You don't want to have that harsh on obviously you don't go down as far as this goes, something like that. Okay. So there you have to and it gets rendered. Yes. You do need to pay a lot of your eyes. Okay. So notice I have my motto now is light misled. Sorry. Yeah, and why now is to make sure that I have lives where I want things to note as well because I don't want this to get lost here. Okay. Like it's going to be difficult to notice because the car, the background is very similar pentagon here to this guy. And I click here. I got it, I got it right, the first one here. So I'm just going to move it here. And I have that light over there. Okay. This isn't my life to something could be mind is that we don't want to have 34 lights casting shadows, only the first one here. So I'm just going to turn that off cache shadow. Notice I've now got this light over here because we're casting shadows. So the shadow us covering this is now covering anymore. We're just gonna increase it with to make them more subtle. And I think that light is too strong, so I'm just going to reduce this a little bit. We just not too much because I don't want to lose the ages. Yes. Enough for me too. And we have the borders miscible. Okay. So there you go, that one. Now let's go for the side over here. And for this one I have something you might actually want to load my camera because I'm already having my power one this shot to be seen. I'm going to move it like that. Your cell a little bit. And I'm going to lock my books and those other camera. I'm going to load the current again. I come to a sky and a one light to work here. Okay. I'm gonna start moving things. You see here. One could be. Let me just continue looking. Okay, let me come here lightly. Turn off cast shadow. And then I come back to this guide and continue playing with that. Now I have more accurately, I know better what's going on. Notice that this is the ladies here. I don't want to hear I want a year and to continue moving things around. There. You got there. This position over here. It's going to give me this. Okay? And I've come here. And now why might lie to be blue? Come here. And you're not super intense thing. This is fine. Okay. If you want to be a stronger you can have it obviously not recommended. You want to lower. It sank thing. Maltose lines will be okay here just in case Here's where you choose a color, okay? And while never play with these ones with us a little bit there. And there you go, the lights. Now, we're gone to this is like our main camera. Okay, well, you want to see this from a different angle and not lose these. Well, in that case, we're going to add a new camera, Camera 1. And notice here we have Camera 1. Now we can move here. We can see this from the top. We can see from the bottom. Get a closer look where you want to see from the front. Has to say actually, I want what I had before. You just come here. Main camera, and there you go. Okay. And this is pretty much locked so you can actually went they wanted to get it closer like dads and they want to make sure and click Hume main camera. I'm going to create the limits again. The center, this one to make sure that my model is pretty much at the center. That's fine. And I'll turn this off. I'm going to lock my camera, the main camera, and I'm going to go to camera one. That's there you go. I don't know that the same thing. I want to make sure that I have everything here in the center. And to see closer and closer look in, yeah, it's actually pretty remote center. And you go on that trend itself. Now have more cameras. I can move these over 13 vital lot to move this one it gives you just simply lock it and another camera and navigate with my camera. So I'm going to focus on the main camera and come back here. Actually, I don't like that angle because it can not see anything from here. I do want to see this part vital. I want to be able to see this part here too. So I just want to continue rotating things a little bit less padding there, maybe scrolling out a little bit more. Yeah, I think going into clauses or wonder what's coming prowess. Rule like this, make sure it is centered again. Tantrum view. Oh men. And also because our camera one here, I have to sort of main camera center and view. And Dow will be just fine in there. Now. Let's tweak the camera bit more. Okay, I'll know that I played with controls. The limit is already set. And lens focus, depth of field. And notice how we cannot see anything anymore anymore. So what we're doing, we're people feel is to create some depth. Okay? The idea is 0, 1, for example, this part to be Berry and this part over here, the front part, to be neat, is a regatta MOOC is a bed bit. Those are where we come back here, look at that big K here, how we move these other patches, how PLR do want to be in the far apart? Not that much. Because we don't want, we don't want it to have it like this, like 0. Because we want this part to be blurred. We don't want to have it like this to exaggerate it. Yes. So yes, some moreover, they're subtle blur and we can play with is over here. This would be more and some because I can focus on this. Okay. And I see you have some blurrier and then slay blurrier. Actually thinner. One more burn distance. There you go. And near br oops, there you go. Okay, that's fine. So slightly blurrier, but that's I think that makes it look more natural, my opinion. We can always move it like this. But this is just tweaking there. And here's to see over there in that one's curve. Now I like that one better. There are some slight blue and the front. Yes. Good. Okay. Mallory would lie that got some nice Berber here. Not so intense yearly, very slightly and I have a nice neat version of it. So that's where lens, nothing else to be honest. No flow, no distortion. If you want to use extortion or something. Well, just so you know, it is here for example, chromatic a very variation. This is what it does. Our, our own usually borrow. It, restores not the model. Your model is now suffering. Anything is less of a camera. Remember that is going to leave it at 0. Not I used There's wanted to see, just wanted you to see it. Okay. And close lens both effects. Well, sharpen. I'm gonna increase it allows for you to see what sharpen does. So look at the model increases like this and notice like everything gets like super sharp. That's why sharpen does even this part right here you're looking at, you can see it is sharp and at the same time it is bird. But you want to be careful with this one. So I do want to use it a little bit like that so I can get these details over here more clearly. And that said, bloom. I just want to show you, I don't usually use to us, we can maybe you can have a little bed. Not sure. I'm going to have it like that for now. If every move it later. And being yet hi always gives me either just like that, then again herself that to make it darker and grain. And I'm going to increase it a lot for you to see what it does and not music. Great DAG grain the picture. I don't usually use a lot of this times. Ah, so little pin. So much. I just got to get the latest guy leaving the default time. Okay? And now to go for the render part over here, I'm going to lock my camera. Okay, So these changes will get to the specific camera. We change the camera one, we're not going to have Blur, we're not going to have sharpen or anything. Okay, I'm Encoder render. View-port is going to stay alive that here. Going to use these later, okay, to show our wireframe. And so we have this scene, the lighting, reflections, Ally, best use cascades were shadow resolution. And that looks nice. So yes, I'm going to use that one as well. You can play with this a little bit. Maybe like that. Yes. Level, global illumination, knocker things too dark. So I'm not really an amine inclusion. Gets this very nice shadow over here and just turn it off or it's a sphere. Okay. I like it. On the watermark is the watermark mumbled a two-by-three here, and I'm not going to use that. Okay. There you go. We have our scene ready for our Render. 48. 47-Rendering: You get our image. We have to do is just how VR can make our selected click on capture. And when I got image, open, image an open, sorry. But this does is a grazer render. And he opens the image once it is ready. And you can see if you like it or not. Okay? And if you like it, you live it like live you don't like it. Well, you just make your modifications. No problem. Okay. Now let me come here. I changed to camera one, which will focus on the front. Okay. Okay. And I can play with camera one now. Okay. Lance, for example, people feel maybe, maybe not, I'm not really sure that people feel here. Oops. What was said in the closet by where they weren't wearing glasses right now. Something like that, for example, there's only bad but nowhere near that, that should pretty good. I like this one. I wasn't planning for this one, but I like this one. Cake pan. Passive fact. Sharpen. Not too much because this part is needed. So I don't want light is too much that I don't want to use POM to be. Not really sure I'm satisfied with the previous one millimeter in yet, but no so strong because I don't want to make everything darker, dark little bit of grain. And though that will do just fine. What do you call it a render? So it's just the same. Okay? And we're going to hear capture, image and open. And here we have our second render, UK, which results show from the front something else that we can do. Well, I'm going to turn off my depth of field, the camera. Okay. I'm going to leave that mean yet. No problem the sharpness. Well, but I'm going to vote to render. And I'm going to select wireframe. Depending on tomato, you have different colors and y is not that convenient. You can come here and choose a color. Okay, guys, I was the early there was rendering a sword and the highlight was covering gray part of the wireframes. So you just changed a little bit the color of the wireframe and that was it. On again, uses motion capture. Sorry, you measure an open and capture. And that's it. There you go, your image with a wireframe. Okay? I'm going to close this again. And to morphism regards to one is I'm going to select the model here and I come to material. Now, sorry to scene, hot object and turntable. Frankly nothing happened. But if I press play here and my model is now rotating and they can see it from all angles to see how it looks. To be fully honest when we rewind here and the wireframe, and it's not helping. So I'm just going to turn that off. There you have your privatization of the animation that we're about to make. Okay. That's it. I'm going to stop here. I'm gonna go to capture. And we're going to capture video, okay, this is the resolution of the video and you can change. This will oppressed export. Hey, you're going to go where you're going to say the video. It doesn't ask you for a much. You have one already. And I just gonna clip here safe. Just me if I want to replace it because I already made them all just for practice. And guess what? The Venus ready dialogue close, closes automatically, and that's it. Okay. Now, I want to do here is I want to go to Export and then go to queer marmoset viewer. Here, I'm going to select my father here, which is going to be she'll cores. So I'm just going to have you here for now. Actually going to create a folder. Renders. Have everything organized. I'm going to write here that in Project Shield in this case, press Save title. Shield, author, that's me, JD Ramirez. You read your name. Okay. And said earlier everything by default here. If you want to modify anything that would be my guest. I don't use HTML and here you have to go to our station. But what I prefer to do is sport it. Here we have a preview. Let me just show you why this is so cool. Okay, when the preview, where we are in lows, where loads, you have the model and this is something that our station allows you to have when your portfolio, you can navigate, okay, like somebody who has never seen your, your model. Okay? Want to see what you have done? They can click here and let's say they wanted to topology is click there and there you have it. Topology. If we want to see your normal maps, we can see pretty much everything. Okay. Let me close this because we're working with camera one and there is something here that we need to prevent from happening. And camera one, we go to limits. We left this on by accident. I had left it on. Aidan, do that. Because if you if you leave it on, let me show you what happens. You want to go to back. You can't you because that's the limit of the camera because it's in the center. There you go. I'm going to turn it off. And now we can look at the back. And this is another render that I want to do. And we just captured this. And we did these angles fine. The Azure image and open. If you want to move the lights, feel free to move them. I should say, thank God for it because the the image looks dark before him with the lights going. I just come here to the front. You check them the right position. And I got to create the mom was a viewer, so File Export, marmoset viewer. I'm going to set everything up again here. Yes, right here. Just going to write here, shield. Save the title. Shield. Ya author in this case is me. Doing the rumor is everything all by default, export. And that's it to profess it is done any saving in the foyer we selected. Okay, Now the last render and put it like this and then I press and hold Shift. And I'm going to present a whole right-click and I'm going to move my mouse. And the like bees have again by light blues here. This part is lit, so everything looks nice. Maybe just a little bit more like this. And I'm going to image and open. There you go. That's it. This one doesn't have any deaf, but that's okay. Okay. So why did we do well first we had with our camp with my camera. Just to sum up, we had like our main picture with camera while we have picture from the front. As varchar entire model, we have a patient with a wireframe. We have a picture of the back, okay? Because what we want to do is that to show our model, okay? You want to show the model without textures, That's also fine. No problem. Okay? And if you notice the marbles have you wear a hat gives you a lot of options here. So let me just come back to the front here and show you all of the options that farmers have viewer keeps you. But the only problem is that not everybody has the time to entering into your portfolios. You almost have. You were the teacher model. They liked the clique and the escrow, and sometimes they might have time to play with marbles. Have you were and do all these things. And then come here or I want to see the topology Agassiz, a nice topology are now secure wherever. Okay, then they go. Okay, let me see, You're a veto. Okay. So God, these cars and our veto, would you refer activity, for example. Okay. But some of the people don't really have the time to do that. So make it easy for them. How are we making it easier? A picture with it lies more or less like this anymore. Okay, From View back the wireframe at our table. Okay, we have ten seconds. They will press Play. They don't have to secondary will now press Play. And there are also two tool bag. They actually want to see everything in more detail. You want to explore your model. Okay? And said, Now let us say this to our station. 49. 48-Portfolio: Okay, So here I am on our station are ready. I want to manage portfolio. I'm now going to create a new artwork. A linear ODEs are working is going to be super creative. Shield it. And then I come here, I haven't gone to start uploading my pictures. We just closed out what I mean, just click here to upload images. Then I go where my images are, which is the Render folder. Okay? Just in case of marbles that saved my images in my desktop, I just copy and paste that in here. And I'm going to select everything right here. And I opened that first. Notice that I have the images. Elder, the first image is taken here. In this case, the Indus come here, crop like jazzy If I don't think it is centered. And then I press Crop. And there I have everything. Okay, So the order I like to do it is like this. First, the presentation of my model. Then I give you more details on my model. And then I showed you the wireframe. After that, I'm going to show you a video. So videoclip here and before upload video. And here I have it naming demo for that. When I open it. And you check it out to see if you like it, everything is fine. You can see or we did. And we add a video, the SU-8. And that's it. Two more things we're going to add marvellous of you were, and you can notice there has been less than 15 megabytes, but that's fine. Hours is 2, Sadie. No problem. Okay, it's added here. And one more image that we didn't get paid, but we don't need to get it. This is given to us or come here, she'll course the concept. Okay? If you have a concept always included comes in. If you create something from a bunch of references. Okay. And that's all you did and you never did have a content. Don't include the batch of references, please. So there you have, again, my presentation. Because in my demonstration of the model, the wireframe, and a video clip, if you want to see everything and if you actually have the time as an employer, for example, was a recruiter. Okay. You want to check my my roster tool, my mouse Have you were and there you go, The Carter. So you can see how I interpreted these concepts into this shield. Hey, our description, I can grab something. Shield for the course on are not ready blender made users. Otherwise something like she'll for a client, for example. We show for a client or in decays, she'll made from a tutorial. If an EGD and you can copy and paste my can copy and paste my link to my art station. Okay. It's just the Dhamma description here. Medium, the 3D in this case, I check what else we have here. 3d printing now within a war for the three pigeon real time, yes. They would check, well, nothing traditional here. We could go, for example, animation. Subjects that you have, all the subjects issues after three. I think that's actually very good because then been you don't go crazy, you don't know what to add or not. So in a cow here is not a concept. I would say it's fantasy. Are sore phase definitely. And let's see what else. It's a prop. Or you go and then you want to change fantasy or science fiction, mean the passenger private. It depends on why you use or what you do software. Well, why do we use here? We use well, my case, I use Photoshop for the concept. Okay, where I post this and include that I made my own calm sat here for you in case you want to use Blender and Substance Painter. I'm sorry, ZBrush with UC rush. Want to go in order so I don't forget. And Substance Painter, abstinence, banker. Finally, farmers a tool back and hear tags. I'm going to show you, you're going to use periods, facts, okay. All through the hard surface. So weapon veto sculpting because I did some Leto's coupling here with the modelling the dot hard Hatzor. Not really. So I'm going to remove this one because it's not a sword. Video games animation. Getting at here, shield here can also add concept in my case k. And here I could say, for example, in my case, she'll made more cores on freebie. You saying lander, see brush and so on, Substance Painter, monitor, tool bag. Then it can say I made the counselor myself and so on, so forth to the US and its course, yada, yada, yada. Okay, so busy description preimage of your goal. Maybe you can write here different things you can ride. For example, you did this for, for a course that you did this as an extra practice, you did this as a project care personnel prior that you had time to work on or to practice a workflow. Or you can come up with a story, okay? She'll die. Could have been used by our loci, King Arthur, for example. Okay. And then you come here. I'm not gonna do it because public, because they need to walk in my description. But then you come here, you click Publish, and that's just going to save it in my case. In case maybe you say, Oh, I forgot a picture. So you can save it. It is saved and you can preview it to see how it looks. This is just a link that works only with you, okay? So if you share this link, nobody's going to be able to use it. But notice here, my ear, you have the programs that are used to description that it's not complete. The name. Okay. And here you have everything Marmot review here we have the video. I don't see the video or the video is down here. And I took the audit to make sure it is here. I do think the vehicles in the end. Our session poses in the end. And he almost view which you can explore. Ok, and see how everything works here. There you go. That's how you prepare your Elijah's for your portfolio. Your portfolio as well. 50. 49-Closure: You are here. Congratulations on making it this far. If you follow along, you have a new model to brag about. If you watch the whole course first, then it is time to challenge yourself. Could you take a motto all the way from the council to rendering? Prove it. Finally, I want to thank you for trusting me with a small part of your 3D education. I hope to have met expectations. And I'll see you next side. Jd out.