Creating The Soul Reaver Sword In ZBrush | Michael Mcguire | Skillshare

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Creating The Soul Reaver Sword In ZBrush

teacher avatar Michael Mcguire, 3D Artist | Indie Dev | Twitch Streamer

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

15 Lessons (2h 29m)
    • 1. Introduction

      1:42
    • 2. Document Setup

      2:35
    • 3. Creating The Blade

      12:45
    • 4. Creating The Grip

      14:50
    • 5. Creating The Pommel

      8:08
    • 6. Creating The Skull Part 1

      17:06
    • 7. Creating The Skull Part 2

      18:41
    • 8. Creating The Guard

      19:29
    • 9. Welding The Guard Together

      5:52
    • 10. ZBrush 2019 Cleaning The Blade

      1:21
    • 11. ZBrush 2018 Cleaning The Blade

      10:06
    • 12. Connecting The Blade

      4:59
    • 13. How To Add Texture and Materials

      18:26
    • 14. Reducing Polygon Count

      5:14
    • 15. Exporting Your Objects

      7:51
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About This Class

Throughout this course, we will be creating the soul reaver sword from the legacy of kain game series and learn some valuable techniques you can use for modelling a sword in ZBrush. You will be able to apply these techniques to create any sword, knife, or dagger for your game, portfolio, or just to model.

  • Boolean techniques

  • You will learn to use the ZModeller brush and see how effective it is for hard surfaces

  • Learning to crease smooth edges

  • Previewing and using the Dynamic Subdivisions

  • How to add textures and materials

  • Gizmo transform tool

  • Using the Weld tool

  • Masking Techniques

Meet Your Teacher

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Michael Mcguire

3D Artist | Indie Dev | Twitch Streamer

Teacher

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Transcripts

1. Introduction: welcome everybody to my class. Creating thesis Soul River Sword, NZ Brush If you are unaware, the Soul River Sword is from the PlayStation one video game. Siri's legacy of Cane and throughout this course will be creating this sword, and you will be learning some very valuable techniques for modeling within Z brush. You will be able to apply all of these techniques to be able to create any type of sword, knife or dagger for your game portfolio or just to help you increase your skill. We'll be using techniques such as live bully ins. You will learn to use TC modeler brush and see how effective it is for hard surfaces. You will learn to create to crease smooth edges and preview using dynamic subdivisions. Instead of applying subdivisions themselves, you will learn how to how you can add a texture or materials to your item inside of Z brush . If you choose to do it within the program, you will learn how to use the gizmo trends from Transform Tool. You will be using the well tool we're using masking techniques and much more throughout this course. So I hope you decide to take this, and I hope you enjoy the course. See in the next video guys 2. Document Setup: All right, let's get our documents set up so we can begin creating our soul River blade. So when you first open up Z brush, you're gonna be greeted with our little light box here. If you've opened this up before you hurry created and safe projects, you might start on the quick save menu here. But we're going to go ahead and go over to the project's tab. Open up the dog. That's okay. I don't need to save any changes at all. Okay, so now that we've got this open, what we're gonna do is we're gonna go into our sub tool left click on dog or I'm sorry. Mature dog is selected. What you should be Since it is the only subtitle here. I was going to come down here and hit delete and then hit. Okay. Next up, we're going to come over to document I believe we're under Oh, our draw. Here we go. We're gonna come down to draw and do left to right. We're going to select map one. Now, with this, you are going to import in and any image that you would like of the soul reverb late if you simply does Google Soul River sword. You will be able to You should see this image here. Oops. It's gotta zoom out here. You'll see this image probably within the 1st 5 results. If I can, then I will include the image here for download. But if not, that's all you have to searching should find this very easily. So this is what we're gonna use for our reference here. So from here, we're just gonna go to you vile save as and then anywhere that you would like to place your project. I'm going to create a new folder myself for the Z brush core fear. And I'm just going to rename it Seoul River and just save that. All right, now we have our documents saved. Our document is all set up and we can begin creating and modeling this beautiful sword. See, in the next video, we'll start working on the bleed 3. Creating The Blade: All right, everybody in this video video, we're going to go ahead and create the curved blade here of our story for bleed. So right here in our tool options, we're going to go ahead and select the cone three D, and then we're gonna hit Make Poly mesh three d. Then we're going to come over here to our move and hit our customized option, which is this cog and Select Co in three D Within. Zoom in. I'm gonna use the line. Feel option here also before we go for that one. Do you want to make sure that you have the perspective in our perspective? Option here Turned off if we ever turned on UCC, it's going to make a huge difference in the way things look and you think is going to be extremely wrong and or small. So just I want to go ahead and make sure you have that off. So with this, I'm just gonna go ahead and pull our green triangle here all the way to the left so that we have no lines, and then when we rotate around toe are flat side, we're gonna pull our red triangle here up until we only have four edges. Like so. All right, Now we hit that little gear again, go back for gizmo three d, go back to draw, and we're gonna mask off just the ending here, and we're gonna hold control. Impressed. W Now we we can get our bottom section here as its own little Polly group. Now, let's go up into our brushes, and we're gonna use thes e modeler brush. This brush is extremely handy for a multitude of things. But right now, we're gonna use this to create the majority of our late here. So we're gonna put our mouse over the flat part until we have this orange line here that shows up. Now it doesn't matter. You have your mouse over here down here. Doesn't matter. The point is, we just wanna have that orange line coming straight out. We're gonna hold the space bar, make sure we have Q mash selected in our top and then in the second section here for target . We're gonna do Polly Group Island now. I'm just gonna assume out of it so I can have more space. But we're gonna go ahead and just mouse over that to get that orange line again when you're gonna hold left, click and just pull it out just simple. Is that all right? Now I'm gonna go to move, and I'm gonna hold all and I'm gonna hit this little thing that looks like a location icon on your phone. And what that is going to do is that's gonna re center this. So now with that, I can rotate this right around our middle old shift so I can snap this to make sure it is perfectly straight moving over to line up with our picture. And now we can start shrinking it down the size we need it, and it's just go ahead and stretch that out and your length and your wit. Now, for our with here, I'm going to go ahead and use the based the skull here for our edge here and here, where it comes out of the cheek, bones. I'm going to use that as my base. I need to shrink mining a bit. Still never go more like that. Now, if we look at this, this whole blade kind of starts off take and then it tapers off a lot. Right down to the end. So what? That we're gonna click are customize option of here again, which is going to slack taper. Now, we can just grab our orange cone down here at the bottom and pull it up until we get a thickness at the bottom that that we approve of. And I think I need to bring that and more. Yeah. I mean, that's the match room that I can pull it up. So if you want to get get your the same thing, it's mind support all the way up size you can. All right? We're gonna hit, customize together. And this time we're gonna hit, accept, so we can keep our changes. Next, we're gonna go ahead and hit that customize one more time, and we're going to do bend curve. So if we rotate this around, you can get a better visual here. Actually, it doesn't really matter habit of mine. We're gonna pull our red cone here, pull it out Now it's snapped, its turned green. And if we pull our yellow cone out a bit, why? Oh, that is not the direction we want. My mistake. If we pull it again, there we go. now mine has turned blue, and we can see we've got this nice and vertical. That is what we want. Now, if we come from the front, we can just grab these dots. Uh, my mistake. I see what's going on here. That is my mistake. Apologies, everybody. I would just go back into draw mode here for a second. And what I did who was a big mistake? Skipped a big step is what I did here with r C modeler brush. Go ahead and just put your mouse over a line like this. So it highlights. We're gonna hold space ever gonna select, um, multiple edge loops for a target. And make sure we have insert highlighted up here for EJ actions. That's why it's not bending for nice curves like we should have their. So, with an edge selected like this let up our way just right. Uh, sorry. Left, click and drag up until you get a nice amount like that. And that is all we're gonna need. That's what we're missing there. All right, now we can go back in and we could select bend curve, and this should function a layer. We g o Ah, lot smoother. All right, something's gonna go ahead and get a good amount of these in there to get started. I don't like to have too many. I just start with pretty much just enough for each of these curves and then add a couple more in just to kind of smooth it out. I'm just gonna try and line this up with the blade as much so I can hear it's out here more when we go that comes here more still. Got a flat place coming out. And there we go. That would be the basis for Blade already perfect. I would just hit that little cog there for customized and disliked except And there we go. We don't have this set for bleed. Now. We still need to do one more thing, and that is flatten off our ends on this side looks this side and this side because it's not. It's not like diamond change, so we can easily do that by going into sub tool here. And we're going to append a cube three d when it's like that cube greedy and select this little Pacman option here, which is going to be subtract can flatten it out. That's OK. Pull that oat. Make sure it is longer than our sword bleed. Doesn't matter how long, just long as it's longer. And as long as it's wider Now we're gonna hit this option at the top here called Live Boolean. And what that is basically gonna dio is allow us to see a live preview, and we were just gonna be cutting out of it. So, as you see, as we move this, it's going to cut more and more from it. Now, I rather lay something like that from a blade like this. Now, if you want, you could always move it in a little more. You can angle it, however you want to do it. But I think I'm gonna leave mine like that, Okay. And then when you have that, you can go ahead and duplicate it just to get the exact same one again. Select that little Pac man icon and just move your 2nd 1 to the other side and just kind of match it up there. So if we assume and we could get a better look here, something like that, there we go. That's looking good for me call that over. Can I think I just pull this out a little more? Maybe. Like that. All right. Now, once you're happy with what you got there we have to do is just come on over to the bullying option here in our sub to a menu we're gonna hit make Boolean mess. All right? Now it's gonna look like nothing happened, but something did. If we go back up here, you're going to see you mesh. Underscore PM three d. It created a whole new mesh with our parts. I'll cut out. So if we just click on that There it is. We have everything all cut out of it. We have our blade edge here. We have a nice and curved, and if we look at it from the front will see, everything still matches up to the way we had it all. Right now that'll do it for this Part of making are curved blade. And for the next part, I think we'll jump into Let's go into the handle. The handle be one of the easiest part force to jump into 4. Creating The Grip: are I? What's up? Everybody will be doing the grip today, and in this class you will see an attachment labeled in game model. And that is a picture of the model ripped straight from the game from the PlayStation one. You'll see it will look something like this if you see here on screen and you can see how the handle is supposed to have these grooves in it now, how deep you make your grooves here will be completely up to you, whether you want to make him really shallow and save closest you can to the original look. Or, if you want a, make them a lot more deep, make him deeper. That's gonna be completely up to you guys as well. So let's go ahead and jump into that piece. Just remove that off of screen here and let's go ahead and jump in. So we just close on that we're going to go into our sub to a menu before we go ahead and add that. Let's go ahead and with our blade here selected, let's hit rename and just call it the blade there so we can keep things organized. All right, so let's go ahead and upend a cylinder. And if we just I assume out here, All right, Make sure we have our cylinder selected so we can move the right object. Let's go ahead and just move that right up here. And I'm just going to click and hold on this yellow square and just completely shrink it down. And I was gonna shrink it down till it It's about the same width as books as our sword handle here. And that's a belt, right? I'm OK with that. Now, let's go ahead and use this green rectangle here. Click and hold and pull it up to stretch that out. That way, we can get our full length in here and I want to go a little more. Um, yeah, I am comfortable with that now to give us Ah, a good part to cover with our palmo there. And this should cover into our skull nice and easily. So the first thing to do here is you'll notice that it flares out at the bottom. So first up, let's go ahead into our customization and taper, and we just grab our little orange triangle here and pull that down to get our Taper. Look here. All right. Now at the top, we can pull that down as well to kind of thin that in a little bit, and then we just click, customize and accept. Now, one thing to note here is you don't want your, um, grips here to be perfectly round. If you've ever held, um, any type of knife or sword that was perfectly round, you'd realize how uncomfortable that would get. Um, so for specific design purposes, um, we make this oval shaped and the looks good for this. Okay, So what I want to do is I wanna this over a little bit. I think I'm gonna shrink my with the bit. Okay, So I think I'm gonna go into taper, and I'm actually gonna increase the end of this a little bit more. There we go, Something like that, and I'll spread this end out a little more and there I'm happy with that. So I'm going to go ahead and accept that one more time. And for all intensive purposes, we have this. We have our handle. Now, this was going to be like a low polly game. We would effectively have this ready to just slap our textures on. But we do want to add these details in these little groups that So what we're gonna do is we're gonna going to drop before we start doing that, we're gonna go toe geometry and we're gonna use Dina Mission. Set the resolution to 2 56 Now, if you want, you could use something higher. So it is 5 12 which I think is what I'm gonna go ahead and use for this and just hit Dina Mesh. Now, you know, it might look like nothing changed, but I'm gonna hit my poly frame here so you can see looks and I'll just by this temporarily and as you see when we turn down a mesh on which has got a lot more, probably guns in our handle. As you see, our handle here are grip on its own. We're up to 25,000 26,000. That's a lot of Polly's. Just a lot of models air 26,000 for the whole thing. But with this, that's going to allow us to get a little more exact with our lines, which would be nice sums going ahead and turn my floor back on. And the way we're gonna do this and keep it simple, is we're going to use our masks. Sufi, I said I don't want to use your mask brush. He does hold control and your circle will turn yellow. And it was going to click and drag and cover the whole thing and release. And now the entire thing has been masked. What's this? Fine. And what we're gonna do is we're gonna hold control and and you'll see here, this will have the opposite effect on unmasked, which is exactly what we want. So we're going to come in and we're just gonna unmask along these lines. Now, my brush is way too big for this. So you can either go up top here to your draw size, or he can hold space and your draw size of you're right here now for me. I'm gonna lower mind down to five. That looks good for me. So holding control and all, we're gonna go ahead and start on one end and just go along that angle. They were gonna go to the next and our next and again and again. And that should of rust but I believe we would have another one. All right there. All right. So once you have that go along the Oh, I have made a mistake there, and by mistake, I mean, I just forgot to turn on the symmetry, so we only have one side done now, I could go on the other side, but I want these to be perfect. Some just gonna undo the ones that I have there, and I believe that it salable. And with local symmetry on here, which is always nice, I'm just gonna hit X on my keyboard. And now we should have symmetry. So if I unmask on this side and turn the silver, it's unmasked on the other side and the exact same spot, so we'll just go ahead and do that again, which is flying. Sony takes, like, a couple seconds to deal. And it's not what I wanted to do. Come on and undo there, and we dio awesome. So now you'll see that we have it on both sides. So I'm just gonna go down the side here, make sure that they're connected on this side. That all seems good, and I'm gonna make sure there are connected on the other side. Here, here we go. Now you can go ahead and look over that. Make sure the lines are as straight as you would like them to be. And then when you're ready, all we're gonna do is we're gonna hold control and we're just going to click out here in our blank area was just gonna click, and that's gonna inverse our mask here, which is perfect. So with that done, we can just come down Teoh the deformations have here, and we're gonna goto inflate. Now, the higher you make this number, the further this is going to stick out. So if we were to do something like 20 you can see that's going to be that big, a drastic change. So if you wanted to make you make this something deep like that, that's something that you could go with. Of course, the size is gonna again depend on the size of your model. Personally, I think I'm going to go with 10 for myself. I feel that is pretty decent for what I want to go for. But don't be discouraged. If you want to go with maybe five. That's perfectly fine, too. It's just a little shallow of a despot. If that's what you want to go for that, okay? And just fine. It's gonna hit back on that, and we're going to do 10 now, make sure you don't He use inflate balloon, and that's you just using flakes. If use inflate balloon, you're going to get a much different results if we do. If we did 10 here would get something more like this, which is not really matching our image. So just make sure that use inflate and not inflate balloon. So once you have a depth that you're happy with here, I'm just gonna hold control, click and drag out like this and let go. And now everything is unmasked. So from here, I'm just gonna use the smooth section here. And don't be afraid to use large numbers here. So you see, like I can even use 900 and it's perfectly fine and I'm all I want to do is just smooth out these edges here. And I'm not using this smooth brush because I don't want to and not pulling a little too much on this at the moment. So I said, I'm just going to throw a giant number like this boom if usually what I do when I when I want to smoothen entire thing like this, that just these large numbers and one more All right, So I think that is what I'm going to be happy with for my grip and that that will cover it . Foreign crypt in the next video. We'll just do the quick little pommel here on the end, which is going to be not too similar, but not dissimilar what we're doing here. So with that, I hope to see you guys in the next video. 01 thing before you guys go, I'm going to go ahead and, uh, remind you guys said name, Name your grip here. It's gonna call this If you want to make sure that you can keep everything here organized, it's always good practice, especially for if you're gonna model a large project later on, or something that has a lot of parts to it. And if you guys haven't already, I want to remind you to save your project just by going Peter file and save as and then save that wherever you want to put it. on your computer, something that'll save your entire project, your background, your all your sub tools and everything in it. But always with that we'll see in the next video. Where do the Bommel? 5. Creating The Pommel: are. I welcome everybody. We're gonna jump into creating the pommel, which on this sword is just this little metal piece here on the end, it will be one of the shortest things out will probably be doing here. So let's go ahead and upend. And this time, let's go ahead and use a cume. Now make sure we ever cube selected and we move it up and we can start shrinking that down to the appropriate size. Now, if you'd like to get this on an angle already, all we have to do is just grab this white circle here and just rotated. Stretch this saido and we could get something like that. All right, so when you have that all lined up the way you want it, I was just going to come down to geometry and let's go ahead and Dina mash this. Yeah, that's not a look that I was hoping for. So let's go ahead and hit control Z and let's subdivide it instead. That's closer to what we need. Let's go ahead and divided again and just doing it twice should be enough. So over here in our draw, we're gonna go to our brush and let's see. Where is it? Here. We're gonna be using the move. Bus brush, move, type A logical. That's what we're gonna be using. So once you have that selected, go ahead and increase her brush size here. And importantly, we're gonna make sure that we have our symmetry on again. You get this press X on the keyboard, and we can just pull the cell, make our brush bigger. That's a lot better described this side in this and bring it out this side right on in. Not here. Pull it. Oh, and just kind of shape it in their the way we need it. All right, now, from here, what we're going to do is go back to move, because we need to thin this out a bit. Alrighty. Now, for the most part, we have that done. But it's still looking a little too blocky. I'm gonna hold my few. That's not really gonna matter at this point, because we're not using subdivisions wheezing. No apologies. We are getting some divisions were not using Don Ameche. So what I'm gonna do is I'm gonna delete my lover subdivisions here, and I'm just gonna hit Dina mash now that did become a little ugly. All right, so what I'm gonna do, I'm just gonna hit control C which should undo that Dina mess there. And I'm gonna turn our resolution up to 5 12 and hit Dina Michigan. That looks better. Looks a felt like what we had. Only now I'm gonna shrink my brush down. I'm gonna hold shift for smooth brush. And I have my intensity down to five. So it's not gonna affected a huge bit. And I'm just gonna start smoothing that out all my edges. Now again, if you want, you could try using that smooth function that we used in the previous video under de formation on the side. But for this I'm just going to use my smooth brush. I could have a little more control over which areas dio. Now, this isn't a big piece on the weapon. It's still important. Get that right Now, remember, with symmetry on, what if we do on one side will be mimicked on the other. All right, Right now I don't know about you guys, but I'd say I'm happy with that for my end here. We just do that. You get a better look and you could see that sits pretty nicely onto that grip. So with that, I'd say we're done. It was very simple. One of the easiest things we could dio and only took a moment of her time. And although we really have left is doing the skull and doing I'm not really sure what would call this this would be more of this in the skull together would be our cross guard section. So I guess that's what we will refer to it as. It's a little weird, but well, we've got just got do our skull and that cross card section across card section again is just gonna be very quick, probably of bonus quick as our grip. And then we have our skull, which is going to be the main drawn, the main detail here, which is where we're gonna really start spending time with our brushes and sculpting out in . You see everything else to create your basically weapon is straightforward. You don't really need to use too much of your brushes. So see you guys on next video will either be doing there are cross guard or jumping into the skull 6. Creating The Skull Part 1: are I Welcome back, everybody. Today we're going to work on creating the skull. Our beautiful centerpiece here off this weapon. So to start by doing that, what I've done is I've hidden our pommel grip and blade here and our sub tools. If you don't know how to do that and just go ahead and click on the I icon here and then we'll just disappear. It's still there. It's just gonna be hidden. And from here, we're going to go to upend a spear. Three d gonna move. Make sure we have that selected Move that up into position. Shrink that down, and we're going to shrink it to Bell. There to be, See the bottom of our spheres coming right across where the bridge, far noses and making a sweep rate above the are cheekbones. Okay, so I think that's a good size for this. And if we just bring our grip and blade back, we can see that's pretty good. That's gonna cover the part that we need at the top. And it's gonna be a pretty good section here for where blade goes into the skull. All right, so I'm gonna go ahead and hide our grip and blade again. And with our scope, we're going to drop. I'm going to use the move topology brush and increase my brush size. And now I'm just going to start molding the shape of a skull. Now, you can do that by looking at our reference here. You can go onto Google and just look up skulls and try to go off of those. Or you can watch and try to follow along with the way that I create My skull's okay. Cem's gonna turn this to the side when I want to make sure I do not have any. Okay, I wanna make sure that I didn't have something. So here. All right, I'm gonna increase my brush further. The Skinner grab our front bottom here, and I was gonna pull that down like this. I'm gonna pull this piece up. Now. The back piece here isn't gonna be too important as we won't really be seeing this piece at all. But of course, we're still gonna smooth this out, make it look a little nicer, but for basic getting a nice basics goal in here. This will do just fine to get us started. All right. If we come to the front, this is in. It's not right down the middle. It's gonna pull down this side a bit more as well. Uh, here we go until we get something like that. Okay, so I'm just gonna turn the floor off so I don't have to see that there. I just want to look at my skull. I'm gonna frank my brush down. I'm gonna hold shift to use my smooth brush, and I have lowered my intensity down to 14. I'm just gonna smooth this out here, make a look alot nicer and not so so much of a clump mess back here. Because even though we're not gonna see it, it's still contributes to our overall model. Okay, that'll do nicely. Now, if you've been following on like this, you might see this little point here than it won't go away from just smoothing it out. And that is because we have we have this poll here like you would at the top of the globe, and that's just not gonna go away. This just where everything comes together, we're actually going to be fixing that right here. My going down to geometry and we're gonna go to Dina Mesh. I'm gonna use line, feel that way we can see it as well as see if what kind of resolution we're looking at here . I'm so I'm going to start with just leaving it at 1 28 Impressed Dynamo. Now that is gone. We've got about the same Holly Gagne size here, which is nice. Now, just like this, we have gone down decrease in the amount of polygons, but this is still a good number to get it. Ah, go with If you would like you, Weaken Still jumped up to maybe 1 50 But I'm going to stick with 1 28 for now. And I'm just going to smooth this piece. Oh, okay. Now, if you guys need to push or pull anything here, feel free to do so. If you do not want to use the move rush, you can also use the and damn standard which she'll just push your Paul Young's around. Then smooth it out. There we go. And that's getting us a much better shape of the skull here Now, of course, if we were doing this for more of a human skull, where we need a bottom job. We would then connect R piece right here, come down and bring it in. But our model here is not Need that. And I just wanna level this out a bit. So it's gonna increase this raise that kind of given that out of it. Here we go. Let's go ahead and bring our floor back and we've got As you can see, we've got ready much the shape of our skull here we've got or we need a little bit more down here. We're gonna have one thing a little bit more down this side for other Fang. Each is perfect. And then we've got our cheekbones that stand out over here right over on this end, Ari. So what I'm gonna do now is select my clay build up brush. I'm gonna shrink this down. We're going to go up here to the Transform tab at the very top. Activate symmetry. Now, girls might be X or Y or Z or zed all depending on what side? Your model. That is all on for me, I believe. Minus on the Is that access? Yes. So you want it like this that when you're working on one side. You can see that red dot on the other side. What that is going to allow us to dio especially work on one side and get perfect symmetry on the other. No matter what we dio, we're just gonna be a lot easier for us to get our eyebrow ridges here. Get our nose detail in and our eye sockets. All right. Now I'm gonna bump my resolution up to 5 12 Now, you may not see anything happen here. That's fine. You can either hold control, click and drag and release and see if that updates it. In my case, it did. If it doesn't for you, then you can just hold shift. Just get this smooth and just click just to get a little smoothness in there. And then go ahead and hold control. Click and drag an A Should update. All right, now in with our floor. So I think I'm going to start with Mm. I'm going to start with doing our eyes here, so I'm going to use to clay build up. You can feel free to use the damn standard if you would like. But what this selected I'm gonna hold Ault that way we dig in instead of build up, and I'm just gonna carved into the shape of our I hear no gonna press one on the keyboard to repeat that process. We're gonna press that a couple of times here and believe those five times now that looks pretty deep. But when we hold shift and smooth that out a bit, make sure to go right around the edges of our bone. Rego I was gonna carve a little more in there. There we go. You're gonna see it's doesn't look at that deep. Of course you can always go is deep If you want, or a shallow is on, it's completely up to you. This is your skull and your design. But once you have that, I'll carved out. You've smoothed that out. Go ahead, hold control, click and drag outside here and then I'll re dying to measure model year. I'm going to turn the floor back on so I can see everything on this model again. And with this, I'm gonna go ahead and build up our eyebrow ridge here. I'm gonna press one just one time and that should do for this and I'm just gonna smooth that right out into our bone here, Skin from the floor after I can see this better myself. And make sure you get this nice, smooth connection up here into the skull so it doesn't look like something just plastic on top. All right. Same with the insides. Here we go. Don't be afraid, toe. Just add a little bit in there. You need Teoh helps. Smooth it out. Okay, Now let's see. What? Where should we start next? Um, let's see. Still with our cheekbones. So with these, we can see the top of for cheap bonus here, and the bottom is down here. So what I'm gonna dio is I'm just gonna click and just drag Oh, to our point there so we can get a nice size. All right, Now we come over to the side here, just rotating our skull, and for a less than pretty, I guess you can say way of doing this. I'm just gonna load up on our clay on the side if we take a look. That is way too much, which is fine, because when we smooth it out, it's actually gonna shrink down a bit which is perfect. Make sure you get both sides of this. You know, we want this look nice on all sides, all directions of it. It's kind of merged that in there. There we go. Let's take a look. How close is that to our bone? Okay, Are bone looks like, Comes down here bit, but it sticks out here. Still a bit more. Okay, something like that. Okay, now, I'm gonna go ahead and use my moved apology brush here, increase my size a bit. And I'm just gonna pull this part when cheek down a bit and just kind of reshaped this just slightly just to kind of get the shape I'm looking for. They will pull that down for Bankas. I think we'll do our bangs next. Alrighty. Look at that. We got our nice skull going in. We can always get our details later for if you want to add any skull cracks or anything like that. All right. So to add on to our fangs here, I'm going to start out by coming into a brush here, and I'm going to select our Polish brush. Where is it? Here's but just press h on my keyboard. It's the only brushed. It starts with an A. I'm gonna lower my intensity down to 14 here. And I'm just gonna flatten the bottom hero just to make things a little easier. All right? And just touch on that smooth edge there already. Looking good. Go ahead and read. I'm a mess that now you can see we've actually got some chunks here in the back. Oh, I must have two things selected in my symmetry. That is an embarrassment. I have both ex NZ. Make sure you only have one of those. Otherwise, you might end up with a situation like I've gotten here. But that's fine. I can easily sort this out here to spy smoothing this so will be able to fix this of this. Increase my intensity on my smooth brush 7. Creating The Skull Part 2: And there we go. I can always use my move brush to reshape this if I need. There you go. Problem solved. All right, now that we have our flat edge here what I wanted to it's just make sure I get these bangs in the right spot. I'm gonna shrink our brush down. I'm gonna go back to our clay build up, and I'm actually going to just come right along here where we're gonna end up having our little gap. I'm not sorry. Not Gap, but our little reject man pops out. We just like this. And so, like something like this. It I'm talking about, like, this pre share where you can see that clearly, this pieces sticking out a bit. I don't know how, uh, explain this card of it, but it makes your object more believable rather than just having, like, two objects intersecting together. All right, so now that we have this, we got a basically my idea here of our area. I'm gonna go ahead, hold control so we can start masking and looks. We do not need that one we want. Here we go. So just go ahead and mask off a little area like this. Just a small little circle within our area. And while holding control, just go ahead and click. Should we click? I'm gonna try not softening this area, worth, But I'm going to read down too. Messed up first, Nereo. All right, so we're just gonna put our in our nice little circle in here, and I will holding control, we're going to click out in this empty space to invert our mask. Perfect. When ah, bring our background back here so we can get a nice size use move, topology. I'm gonna click on our mask here. So hold controlling. Just click on our skull. We could just get a bit of a smoother result. And now with our fang, we're just gonna drag it straight down until we can get I'm felt the right length here. No, already. So that's perfect. So this might look a little ugly, but that's exactly what we're gonna need here, cause we're gonna dio is we're gonna split so under our sub to a menu here, we're gonna go to split. We're gonna split on mask points. Okay, so now we basically just separated our skull from our teeth and that's fine. But what's not fine is if you take a look, we have a hole in our school, and that's a problem. But we can solve that easily just by holding control. Click and drag out here and just read Einem ish and that'll close that up. So what I want you to do at this point is hold control impressed. W and that is going to regroup everything here together that we don't have our end capture as its own separate group already. So now we're just going to smooth that out, Smooth that out a bit like so Read Don Ameche. And now we can click on our teeth. We can hide our skull, and we have the same issue here and looks probably Gonza Stretch. We have a hole in the top, but just hold control. Click and drag out here and hold control in price W to group all that together. Now, if you get a color that is very similar to your skull and you want to keep them more distinguishable from the Southern, just hold control and just press W again and there we go. I know how this purplish blue for my banks and this green for my skull. All right, Now we're going to go back to our move. Topology brush here. Just my size. And we just kind of pushed this into the shape of our banks here so you can make these curves. You can make the more perfectly straight. However, you would like to do yours. Okay, which is gonna pull these in? Move that this way. All right, So I think I've got what I want to do for my thanks year. Just gonna smooth that out of it. I'm gonna mask off my bottom here of my things. Now, I can strictly focus on smoothing out our top here because this looks extremely ugly for our model. So I'm just gonna smooth that there going Why? Brushes? He's my polish. Get right on top and just kind of flatten that down. Oops. I flatten that too much. Here we go. More like that. That looks a lot better. Will control, click and drag out outside so we can get that on mask. Perfect. Now, the problem is, is the size, at least for myself here. So I'm gonna go ahead and I'm going to use move. And if yours is way outside like this, what we can do is hold Ault and click on this location icon and that will readjust down here. All right, Something's going to click onto this green rectangle and pull it up. I wanna pull out the blue a little more. Alright, He's somewhere around there. That looks good. Gonna pull it up? I'm gonna go back into our draw mode. All right? Now, if we show our skull at the same time, we could see that's going right on inside, which is excellent. It's perfect. That's what we want. We want that perfect intersection here, but we still need that lip. So using our clay build up brush, it's gonna reduce her size here. But we just start building up right around our choose our thing. Just do that right around. Are outside here, all the way around it. Where we Gil, once you have that, you can just use your smooth brush and start smoothing it down and again. Just blend that in with her skull, make it look nice all the way around. Cool. All right. No, for me. I think that I don't think that looks as nice sun like it personally. Some of my clay build up brush. I'm just gonna hold art. I'm just gonna dig into this a bit just to give a little bit of depth in here and then smooth it out. Now, when I bring my things back, that's going to look a little more convincing. We just rotate this around back to where we need it. Here we go. We have our skull almost completed. And our fangs I'm going to go ahead and renamed these now rename this to my fangs and rename our other piece here. Let's go already Now, using either your clay build up. Yeah, you're damn standard brush Wouldn't go ahead and just kind of carved in our nose here. And, of course, smooth it out. You can use either one or any combination of the two and read Einem ish. Okay, so I think I'm happy with that from my nose so you can go ahead and keep working on that until you're satisfied with something. All right. Now, for thes cracks at the top here just to add that little more detail, I'm gonna go ahead and turn my symmetry because I don't want these cracks. We perfectly symmetrical when you turn up the intensity. Um, I damn standard here and just kind of come in here in a jagged motion, like so just connect that in there. Bring that piece up there and what's focus on one piece at a time. Now, if we just read, I'm a mess. That that's that's a nice depth in there. Personally, I want to go just a little deeper. So again, this is going to be up to you and your preference. Alrighty. And I'm Skinner redone to miss that Now with my smooth brush, we're gonna move that down. Teoh, I'm gonna have mined out about nine. And I'm just gonna briefly just brush right over this right over my crack. Here we go. Just like that. Now, if you want your crack, of course, smaller or bigger, you can always just adjust your brush size already. Now down here, we've got a few cracks right down here by her cheek. It's like we have a similar one over here. Possibly one they're not. I'm gonna add one my own. Just like that. I would add a little bit of ah, split here between our two eyebrow ridges. Just make them a little more defined here. Here we go. Definitely don't need to cut into that little more. That's a bit better already. This is looking good. Perfect. Already. Now, what kind of split our eyebrow ridge up? A little bit more perfect. And that about does it for skull. It's gonna run my smooth brush right over these down here again. But that about does it for the skull. You can go ahead and add as many cracks or details as you would like into yours. Here we go. Just remember to read Dina Moesha, and I think that is where I'm gonna leave mine. So go ahead, keep working on yours. If you want to spend a couple hours on your skull, go for it. If you wanna add details that aren't there in the old model or not, there are reference. Go for It's completely up to you. This is your weapon, Ger skull. Our fangs are looking excellent. They're very easy to create out of it. And the only thing that really leaves us with now is these metal pieces that are coming out here on the top and bottom. It's gonna go ahead and your blade grip and pommel. And if we turn the floor off, there's There's how we're looking. It's looking pretty good. Now we're gonna have to make sure that our blade here comes up into our skull or bring our skull down a bit Well, so we'll have to see how much of that is not covered up by our big metal pieces. But with that, that's it for this video, and I'll see in the next video where we will complete our final piece of this weapon. 8. Creating The Guard: are and everybody We're almost done with this weapon. We have our blade grip, pommel skull and the fangs for all we're really missing is our little cross guards section here. And then that word pretty much done our model. At that point, if we just hide floor there, you can see there's were up to That's looking pretty good, all right, Now, because the good thing is that when we did our skull, that was the most complicated thing that we have to do for this weapon. Everything else has been fairly easy and simple for us to dio. So let's bring our floor back and zoom in. Didn't take a look this and we're going to append a cone three d. We're gonna select it and move it on up and shrink it down to be more in position. Okay, Now, before you really go any further, if we look at this, we're working off of a three three pronged triangle. Basically, we got our top line going up the middle are one line going off on the back and then one line in the front. So we need to come to our cock here. I do want to. I'm going to hide everything except for Michael and just make this a little easier for myself. So we're going to go to customize. We're going to go to Cone three D now, just like we did with the blade. We're gonna move. Are Red Mark here? Do you get ourselves a knife? Triangle three sided. When this time. And for green were sitting at three. That should be fine, but I'm just gonna go ahead and you more in just to be safe. We can always add some in later, all right, and back to our customers will go back to the gizmo. And now we can rotate this into position. Looks like we're gonna have to taper this a bit. What should we find? Ah, stretch the cell so we can get the full length that we're gonna need for this. And that looks good already. So once you have about the right size you got in a similar position here, let's go ahead into our customized section and we're gonna just bend the curve. And of course you wanna get this long. Are vertical here, which, of course, were looking at it from the front is gonna be the horizontal. I'm just gonna pull on my yellow one here so I can get a clear view with my dogs to see where I'm lined up with. Let's see, pulling my red cone here. That's not exactly where we want. I'm gonna pull on that Cohen again. There we go. That's what I'm looking for. And now we're just gonna move everything into place. Move this one down a bit. Looking good. This will be our point. This can come down. That means that this I can come down horse Our final piece here in the back. Alrighty. Okay, Now it looks like we're gonna need some more points in here in order to keep ending it. So I'm just gonna go ahead and hit except and then with our you see modeler brush, we're going to get into online here. So we want to make sure we have this line highlighted. We're gonna hold our space bar. We're gonna use insert, and we're gonna insert multiple edge loops. Now again, with that line, I lighted what? You should show up white like, So we're gonna left, click and hold and then drag and we're gonna insert Mawr loops into there. And what that's going to do is give a smoother bend to this. And I'm gonna go ahead and just add that to a few more of these right around the spending an area. Uh, should we? Yeah. Well, handsome, this one as well. And we'll add some raw, you know, Maysles, Adam to all of them just to kind of get that smoother curve. Okay, All right. Now, back in the movie, I'm going right back into customized when he's bend curve again. Yes. That is not the one we want. - All right, Now we have a really good look on this. Not too shabby. We do have some place that we need to kind of then out a bit and move them. That's fine. We're gonna use customized and had, except all right, back into our drop. We're going to use our moved apology. So if you would like to readjust any of these positions ever so slightly, such as maybe you want to move the top here down a bit, like so move this out to get a better curve. That's gonna be completely up to you. And how you want to make this section. I want to make mine bit like that. All right. I think that's what I want to do with mine. We just shrink that down a bit. Who pulled that out a little. Okay, I think I am satisfied with this for just turns out. Of course, we don't need that now, would you? We have our shapes all bent the way we want it. Now, this is very now very pretty or smooth. Really. Look at So what? I'm gonna dio I'm going to come down here to geometry. I'm gonna use dynamic sh fact that out. Let's try with 2 56 see how that looks. You can see that looks much better. Okay, now we're going to go down into a second. We haven't touched yet. That is going to be the de formation section. The only thing we're gonna touch here is smooth. And for that, you can just put in a large number to see better results. I guess you can say otherwise, it won't smooth a whole lot visually, so I'm just gonna, as you see, there's gonna put a bunch of 19 there and hit enter and you see that didn't change the whole lot since going do it again. And that's not getting a oh, on what I'm looking for. But that is gonna help. Maybe Maybe that's enough smoothing for you guys for myself. I think I want to smooth that little bit more. I'm going to do that manually. And when he's smooth brush, just pull my intensity down, Teoh about a 10. And I'm just gonna brush over this over my edges. Here. Here we go. I'm now. That's what I'm liking. Now we're getting quite a point down here on the end. Let's see, what can we do about that? If we just mask that section on, flip that and then inflate slightly. Okay, then I'm going to smooth this. It looks like we're just gonna pretty much go right back to the situation we were in. That's why we have plenty of probably gonna deal with their smooth this back in, get a better blend. That doesn't stick out too much already. Now, as you can see mine, it's just a little bit off. Now I'm gonna go back with our move, topology, and I'm just gonna pull this back out and shape it again. - Okay , so for this, I think we're gonna make this really easy on us. And we're gonna easily mirror this over. I'm going to go ahead and make a quick save. Because I spent a while we're gonna go to the plug ins at the top. We're gonna go to Sub Tool Master. We're gonna hit mirror. And I know from when I was messing with my skull that I want a mirror mine on the zed access, and I'm gonna upend, find us a new subject. I'm just gonna merge mind leader. So that's fine. And there we go. We have are two sides that are perfectly centered. Not so perfectly saying which is good in this case that we didn't merge them right off the bat, because now we can kind of move this one over a bit like so awesome. Perf it. Okay, so we're gonna take thes two, and I am now going to with our top one selected here. I'm gonna come down to merge and hit merge down. You're going to get a warning that this state permanent process and you cannot go back. That's okay. And now our top two pieces here has become one. So now we have the top section. Now we need to get our bottom. But with this weaken weaken, do another. You see, little trick here. We can have our part selected here. We can duplicate it. And then instead of using merge, we should move that down first. Yes, so we can see that easier. Now, instead of using merge, we're gonna use the split function. We're gonna hit split two parts. We're gonna hit. Okay? And now that it's going to split us into two single pieces here, which is they are piece here and here, which, if we had this will be able to tell the difference easier. And now all we're going to do, I'm gonna start with my right side as we are going to move. It is all the way down here. We just rotate this in. And in our draw, we can use our move, topology, brush and to start repositioning all this. Um, it's not really getting a look that I particularly wanting. Okay, I'm gonna increase my size even further for this. Now I can move a larger chunk and we go this looking better for my basic shape. and I'll show you how to merge these two together. If that is what you would like to dio. Okay, I can shrink this down and we could start shaping this. I want to sell this side. Go in. Oh, this out. Mary Gil. Okay, Something like that. Natural order. Bring these parts back. We'd have just like that, which looks pretty good for this. Now, I'm not too keen on this piece here, but that's fine, because when we get to our final project or product, that's gonna be inside the skull and hidden and we'll be ableto church those together. Which is just another reason why you might want to merge these into one solid piece. But okay, so we've done that toe one side. Now we can do that with our other side here, or what I think I'm going to do is I'm going to actually delete this piece and just duplicate the one that we just did are actually just to make this a little more exact, let's delete that. And instead of duplicating it, we're gonna do what we did before Rooney's the plug in Sub Jewel Master and we're going to use mirror we're gonna hit, okay? And our 2nd 1 we can use, move and just slide that right into position. Perfect. Excellent. That is looking great. All right, Now, in the next video would do, Ah, a short, just a short, a short little video for our next section here. And we will merge all of our pieces here together. Not our scholar thing. Just this little guard that we have just created. We'll go ahead, merge all those three other, and we'll make this look like a much smoother piece. 9. Welding The Guard Together: All right, everybody in this video, we're going to just hide our floor here, and we're gonna merge all of these together. We'll combine them all together. So with our bottom pieces here was gonna hide our top half. We're gonna go ahead and select hours and we're going to use merge down that way. Our bottom is one piece, and our top is another piece. Okay, Now, with these, I'm gonna go ahead and save my project first. Just in case something goes wrong, it will revert back to this. All right. Now, with both of these were going to go down to geometry. We're going. Teoh used dynamic sh and 2 56 should be good for this. If you want to go with 5 12 you can also do that as well. So we've got Dina mesh off on for that one. And let's turn it on for our bottom one. Here, Dina mess that's already selected. Awesome. Okay, It's now with our top one selected. We're going to goto our merged have here, and I'm going to select weld, and I'm just going to use merge down and hit, OK, all right? No, we're just gonna hold control, Click and drag anywhere out here. And if you have your probably frame here selected, let's go ahead and turn that off and you'll see that actually merged together. Now we can just shrink our brush. Hold shift. And there you go. We've got one solid piece. Let's go ahead. Run over that. Smooth it out too. What you think looks good for our blend in here. Now, this part that I'm sitting on here is going to be inside the skull so it doesn't need to look as pretty as our piece here where they connect on the outside. There we go already. We're looking good. That kind of smooth that piece in. And be sure to do that to your other one as well. That what you've got them both done up. Smooth out. This felt sure. That's a nice one. Blend and are welded point. Use a little work on this side. And was this worker in her piece here already? So we're looking good. Just go ahead and pull that back and we go look at this from the front. Go ahead and put our skull and our banks in there. It's not the front. That is our back. There we go. There's the front, and we're looking good. Now what I think I'm going to dio on here works is I'm just going to increase my smoothness here. My sensitivity are not sensitivity. Intensity increase my brush size a little bit. And I'm just going to smooth this over. All peace here in here is really smooth. This too. Something mawr pleasing to the I in my opinion, skin and overall much smoother. By pulling this away from our ice bucket that's barely distance back right around there. And so just a quick go over. Let's see that set out of it. All right? And I think that about does it now feel free to spend much time is you need Teoh. Smooth this out to something that you like Something that looks good for you and that pretty well does it for getting our model built 10. ZBrush 2019 Cleaning The Blade: Alright, guys, I just wanna make a small change in X. If you are using zebras 2019 we don't have to go through increasing all of our edges like we would do you have to do in 2018 of Z brush. So if we take our blade, we just come down to our zero you measure here, which is underneath of the geometry section. We can just hit, keep creases, detect edges. And then I had to increase the polygon count here to a much higher love. Higher number vacuums gonna crank it all the way out. Leave it on adaptive and crank, adaptive all the way up. Otherwise, if I didn't do this, I ended up with some pieces missing out of the blade, which is a little weird. But then we just hear and see Ramesh er and there we go. We were able to keep our curves without having to crease oranges. And if for some reason this doesn't work for you in 2019 you can always just follow the 2018 video and then just click legacy here and the cease the 2018 and see Romesha whenever you hit this button. All right? Just wanna let you guys know that small difference 11. ZBrush 2018 Cleaning The Blade: All right, everybody, welcome back. Now. We have our model beautifully done here. Each and every piece is completely finished. However, we're gonna make the blade look just a little bit nicer. Because if we zoom in and take a look, it still has thes kind of sharper edges. Such as when we're curving around this area here or on the inside here. So we're gonna fix that. So what we're gonna need is we're not gonna need the pommel. So I'm gonna go ahead and go ahead and hide my pommel, my grip, the things out of the way. Move our guard out of the way. So I'm just going to keep my skull so I can keep a point of reference for myself, and I'm gonna make sure I have my blade here selected Now down here where you see line, Bill, or if you mouse over says drop holly frame or you can press shift f, we're gonna turn that on, and you can see that the blade here is it's a big, jumbled mass. It's really bad topology. So we're gonna fix that as well. But first we need to make sure that ah, sharp edges here, stay sharp and the ones we don't want disappear. If we come down here to geometry, we can use dynamic subdivide to see what this would look like if we use the subdivision. And if we do that, you see all our sharp edges are completely gone. It is not just completely rounded and a lot more of a blunt object now rather than the sword. But the great thing about dynamic subdivisions, we could just turn that off and we're back to normal because it's not actually applying any of this. So if we zoom in and in our brushes, we're gonna slick Z modeler. And make sure you have under transform your symmetry, make sure you have that turned off because your sides of probably not gonna be exactly the same. Now, with our C modeler brush, go ahead and mouse over one of your lines like this. Keep in mind, we are only using certainly won't be doing this over all of them. So we're gonna be going for our crease. That's right down the middle here for the blade edge and we're going to go right along our edge here and we're gonna have to get on this side, this side. And then, of course, over on our other side appear. So if we zoom in, we go ahead and highlight that line. I'm going to shrink my brush to make it easier, a little more accurate. And now with that edge selected or highlighted go ahead and hold space bar and we're gonna flicked Crease And for target the edge. Now all we have to do is just a click. And I'm gonna go ahead and keep our upper area here and click here. And I'm just gonna do the other side over here as well. This for a top there. And now you see what ahead, dynamic subdivide. We keep those sharp edges rather than them completely rounding out like we see down here. So that's what we're gonna That's what we're gonna be doing. You need to just go down there, select all of those. It's like that one. Here we go. So you can see what kind of a difference this makes. We're gonna go ahead, go down, select all those one by one on all of your angles there and again, we're gonna be going along this curve here or this edge and then who rotate this are Blade Edge right down the middle and then that same edge on the back and then again on the other side. So I'm gonna go ahead and just speed up this part of the video. You probably don't want to see this happening over and over, but I'm just gonna go ahead and do that same thing. So we're gonna get this one, this one, this one here, here and here. All right. Now that you got all your creases in and when you hit dynamic subdivide booms to that when you turn that on and you're happy with your result here with things keep in their crisp edges, then we can move on. And I'm just going to go ahead and leave the poly frame on. You can leave that on this. Well, if you would like, I'm going to go ahead and hit Divide here. Why do we have three of them here? That is interesting. If I delete those, and if we do a dynamic subdivide we should have Here we go. That portion still a little weird, but that's fine. Said it would completely covered up. Okay, Now, I'm okay with a little bit of almost almost like a little dent in some areas with that, or show a little more like it's more battle warned rather rather than something new. But of course, depending on which or how many sections that you actually kept your creases in, all that is going to come into play with those. But I'm just gonna go ahead and delete my higher subdivisions. Now, I'm going to come down here and going to dine Abeche, and I'm gonna split this up into 5 12 And I was gonna have Dinah Mash, And though that is a lot, we are keeping that kind of edge on there, which is nice and just what we were looking for 5 12 is probably over doing it. But that's fine. I'm gonna turn down a mess off, and now I'm going to come to the zero measure here. I am going to cut the amount of polygons here and half hopefully and I'm just gonna hit Z remesch er and let it re effectively recreate the mesh, but with, um but the polygon smoothie or flowing a lot smoother. Now, just take a minute. We still have our edge and a lot less polygon, sir. All right, so that'll do it for kind of cleaning up the blade there. And if we come in here, just go ahead and just turn all of these Dracone. There we go. And now your blade is pretty much ready for exporting your UV maps and creating your textures and materials. In another program, you can add materials not within busy brush if you would like. But I would suggest using other programs for that. 12. Connecting The Blade: alright in this video, we're just gonna make a slight adjustment to the sword. Well, not so much the sore, but as the blade itself. And we're gonna bring just our edge here, up into the skull, just toe get that more of a connection and not so much a loading area in between as you can see there, as if you were to be doing this for, say, a game or a movie would look very off were floating there. Unless, of course, there is a reason or something like that. Maybe you make me some kind of fantasy or magic kind of weapon. And as you see here, I've brought in another silver blade that I have done in the past. And I just wanted to show you that depending on how you appreciate us much how you appreciate this, but the time that you spend crease your edges and what line decrease can give you slightly different results here, As you can see now, also, the one on the right is a bit thicker and it's with you can see there's a bit of a difference. Not huge, but there is. It's a bit there. So what we're gonna do is we're gonna easily just take our blade here and we're going to hold control. Just mask off. I don't that much of our bleed, old control and just click out here in the empty space. And while we're still holding control, which is gonna click our mask 1234 that we get that nice soft edge like you see there and we're gonna go to our move, I'm gonna hold all in. Click this location marker Let go. And I'm just gonna grab our green arrow and just pull it up into the head. Now, I'm going to select this option down here to show the capacity just so I can see how much it's in, as well as making sure that it is indeed inside. And if you see, it will go on this single Here we see the baseless skull there, and it is indeed inside a little bit so I can turn my transparency there. Uh, Zuma will control, click and drags out in the blank area that I'm just gonna hold all and click the location again to re center that Okay, that's gonna click drives to go back. So now we have are nice. So River blade that we have good topology on or at least much better than what we had previously. We have it brought up, so it's now a part of the weapon and not floating on its own. We have a nice guard here as very beautiful and accurate. Teoh, the old model from the PlayStation one. We have a nice go are bangs as much call details America you want to put and a simple yet if active technique that we used here in our handle and a little pommel toe and off that finishing touch on the end there. And any time you make a sore, do add some type of Palmer. Even if it is something simple like this, we're just kind of blend in with the overall design from a distance. Alrighty. So now we just felt or not if we But if I just hide this blade, turn that off. We have a soul river model ready for text. Oring in again. I would recommend another program for doing this. We're creating your textures, Um, and you could also, you know, doing your materials and everything that in another program as well Substance designers. A very popular one. Um, if you feel more company on something like a blender, you can pull it in there. But if you are wanting to use Z brushing Onley see brush, we can apply materials and colors and textures in that within here. But that will do it for this video. So I see guys the next one. And with that I'll show you guys how to do. We'll show you how to unwrap your objects in that next. 13. How To Add Texture and Materials: All right, welcome back. And in this video, we're gonna talk about how to quickly UV unwrap our objects here. Now, if you guys want to merge some of your objects, maybe some of your objects are gonna share certain shares such as your skull and the banks . Then you can easily just come down with your some to a selected and use merge and hit merge down. And then, in this case, this is gonna take our skull and merge it with the object underneath it, which is the bangs for this. I'm just gonna leave all of this separate into individual pieces. What if you would like to do that, you can feel free to do so. So with your object selected here, first up we will need to come into geometry, and we're going to do one subdivision here, and we're gonna select our lowest division because we're going to need that for creating some of our maps, which again you can easily take even to maybe just your texture mapping. Use other programs such as materialize, or if you want to make all your textures and that inside of voter shop Utkan create all here textures that way as well. But with our tool selected, I'm going to use this skull for this. We're going to come up to our top and go to Z Plug in. We're going to come down to you, the master Now I'm going to select symmetry And this whole skull is one poly groups. So in this case it wouldn't matter. But on other objects you may have it split up into different poly groups in which case we wanted to use that definitely could. And the quickest way to do this would just be to unwrap. You can see our progress right here at the top. Now the more polygons we're object has theme or or the longer is going to take to completely unwrapped never go Now if we were to come back up here and it Latin but it is only allowed on a measure. Subdivision levels use work. What do we not have some position? Should we dio Ah, you There we go more to you. Be now It's a little hard to see. Goods kind of blocked and it's all one color. So you can't really make out any of the details. So if I just hit morph UV again. It'll form back into the skull, which is free. And for this I'm going to hide the bleed grip. Common. Um, yeah, let's have the bangs, This wall. All right, So if you guys want custom, are not custom, but you want more materials or textures if you want to just like paint on the texture that way again. If you guys would like preferably work Onley within the Russian. I use external bulls. You can head over to pick Xylogics website and actual selection. They're of different rushes, textures, materials and all that that you can just download. But with this we're gonna go with material and I am going to select. Now I do have a bone takes your credit in the past as well as a more of bone material. So to start off for this, I'm just gonna slick bone Now, obviously, all of this has just become bone, even the parts that were not working on and that's fine. All we're gonna dio is we're gonna slip m rgb here at the top. Now what this does is it's gonna allow us to change material as well as color. We're gonna go appear to be color tab and just say Bill I get now you're noticed over on our right hand side. This is changed when we can now see the color as well as this little paintbrush here has been highlighted. So what? That on that shows that are extra materials air on. And if we uncheck that, it will be back to normal. So an easy way to tell this is if we go right back to our madcap gray, our default and you can see it there so we turn this off will be great again. If we turn back on, we'll be back to our bone so this can serve as a a decent start worse. And if all you want to do is just keep it as this one color or you just want to take things as a point of reference for creating your own in an external program, like then that's fine. This probably gonna make her is a little darker in this section, But we're gonna come down to the masking area here. We're going, Teoh Select Masked by cavity, and we're just gonna hit masked by cavity. What? That is going to do is that's gonna as you see here. You just unmasked area. It's not really too important. But as you see, it's gonna mask in all the areas that are lower in this, such as the A little different here from the nose and the eye sockets, the cracks that we put in, it's going to do all of that. I was gonna hold control out here and just click in the empty space. And then there's our space that weaken color in or dark and up whichever we want to go about with that. And of course, it just makes it for on easier selection when it comes to making textures within Z brush like this. So I'm at the top. I'm just gonna change this to RGB because we're not changing the material and make sure you have Z ad and Z sub both turned up and I'm just gonna be using the standard brush here and I'm gonna slipped a color. I'm just gonna slick pure black and I'm going to turn my RGB intensity down. I'm gonna increase my brush and I'm just gonna brush over it like this. Like so some of that could use a little smoothing. Go like that? No, we just turn this right back up because that's inheriting. Now, if we were going to you be map and hit more few V, you can see we can actually start seeing some detail into our U. B. And the reason why we're only seeing like half of it is because it's perfectly simple, symmetrical in this aspect. So whatever you see on one side is going to be essentially flipped on the other. So imagine a line down the middle almost, and it's kind of like that. Whatever is on one side is on the other. Now you don't want symmetry. Of course, you can always come back up here, turn off symmetry. Unwrap it again and that will just take a moment almost there. And now if we more fit. Interesting. Suppose maybe I should have deleted the old TV first for trying to generate a new one. Last fine. Um, if you want, I do this for all of your objects. You can unwrap on and unwrap all of your objects and in one sitting instead of you having to go one by one. But what? That is just pretty much go ahead. Go through ad. Whatever you would like into here, you can see what this and just adding a little bit of way into this. I'm just gonna have just that little bit in there again. You can mess with this, make whatever colors or combinations. Um, go get a texture, for example, from coming here. If you were to get, say, a bone texture which I don't have any bones on here for, say, let's use this one And then I'm gonna change stroke. Teoh Dragon, Grab drag rectangle. And I could say coming here, Turn that up and you can see weaken add some texture into our object. This way. Obviously this color is not the greatest. So in this case, we could just turn our are to be intensity down. Go like this. You know, add just a little bit in there. You can just use simple images like this which is effectively what you would do if he went on to picture logics website to get textures that aren't a brush. For example, I know they have a texture on their for jeans. This is essentially what you would do. Only you divorce make it look nice on your pants. If it was jeans, this was just gonna quickly go over, give you an idea, and you can see going this. You know, here, now our skull looks a little more interesting. Has a little bit of a little bit more detail on it. So you could easily just go ahead and do it that that way, if you want a toe, use a texture like this. I don texture off. Now we have our UV, but what we don't have is a texture, man or displacement or normal. Any of these. So what's going to come to a texture map whenever you're done coloring and making your text year? Of course, this is only gonna apply if you want to. If you really want to create, you're texting that within here. Now, if you want to create your textures outside of here, say little shop again. Um, you can use this as your kind of layout to get your you bees. But we're just gonna come in here and we're just gonna create new firm Polly paints and you can see we have our texture right there. If you were to use new from massing. We don't really have any mask there. Now, don't be afraid that this disappeared. That's just kind of textures on top of it. You can see how different that looks. That's gotta undo all those scaring me a moment. Here we go. And burn tax folly. Order UV map, etcetera. You got all these different options here, but I was gonna hit new from Polly Pain. And as you can see, we just mouse over that knocking on doesn't want a pop up there. That's fine. Um, but to get this texture map out of Z brush in or use it yourself There it is. You can just go ahead, hit loan texture and over here on the left and hit export and save that whether you would like and that'll be your texture in this case for the skull that you can either use directly or or stakeout into Fuller Shopper something. Now you can also creature normal maps here, so heading create normal map. In this case, it's pretty blank cause it's all All of our details in this case are death, and that is built into the model. But if you were to put this into a game or something. Um, you have all different depths in that for probably the nose there on the cracks in the skull, things like that. Then for displacement. Go ahead, Hit that. That's just gonna be like a height map, which you can see right there. Um, and again, you can just say clone and then come over to the side. Here, click and hit export. And same with your normal map here. Clone from over Lake Export. It's gonna shrink this down now in or to do a normal map and displacement maps. I believe you need the at least one subdivision level and beyond the lowest, which is why we did that earlier. But you can go through and add that and that will get all your textures and materials onto your objects. And I do want to make one note. You just turn Alfa off and texture off. If you would like to add more than one material onto this object or any object that you want to use in the future, just select em here at the top of material. And then I'm going to change this to Chrome. Just more our example and I was gonna hide the guard. So we have only the skull. But and now, since I have just material channel selected on the repaint, basically painting with our material so wouldn't come in Our texture is hiding that because we already made that we're texture map. Just turn that off. And now, as you see, we can paint a whole new material onto our object. If we don't want that, of course would come in and maybe do droplet or, you know, whatever else if you want to use and look at that, of course, we can always come in, um, se curve or, you know, let's not use her to stick with our rectangle. Here it was to school almost down the middle. Here go a little more stopping this up, invert that, take our big brush and do something like that. So now you got this partial bone and partial metal skull going on here. If you want to do something like that with your sword or just an object that you have in the future just for render purposes or whatever, you can easily do it just like that for more than one material on your item. All right. So that'll about do it or this video, it's gonna hit new from Polly Great. And now our colors And that is in here, which doesnt really affect two months when it comes to. But that will do it for this video. In the next video, I'll show you how Teoh lower the polygon count and your items. Or if you do want to import this into a game as the large amount of polygon count of a large poly count will increase how much your system, our platform, whatever you're putting it on would need to work. So at some point, you just measure limit and too many polygons for the system is where you start getting leg and frame drops and things like that. So we'll go over how to reduce the polygon count while keeping our details. I'm just gonna back this up. I just want to keep our bone here. But that will do it for this video and see you guys in the next room 14. Reducing Polygon Count: All right. Welcome back, everyone. And in this video, we're gonna take a look at how to reduce our polygon count while keeping our details. Now, if you're gonna be If this was to be used in film, then you condone for the most part, uses many polygons as you need to make the item look the way it needs to look and look as, um, I just realistic. If it was to be in a live action type of Fillmore, you know, whatever needs to be done there, whereas in a game we kind of have, like, polygon limits or some engines may have specific polygon limits. So these are things that we need to keep in mind. So we've just come into our sub tool again. We'll be using are the skull as our example. And you don't go through this for all of your sub tools here, but for skull here, you can see we have 43,000 784 polygons, and we can easily reduce that without getting rid o all the details, like all the curves and cracks and things like that. And this is also why we export our textures now that we can keep our okay. Better looking textures on a lower polygon up. We're going to quit here to our plug ins. We're going to come down to sub tool Master. I believe it is. Oh, mistake, Decimation, master. And we're gonna keep our U V s. So that's important. Never do. Here, using keep are probably pain. And I'm just gonna freeze the border just in case. And what that is going to do is racy. If we have, say, ah, whole going through the middle of our object like a doughnut. If we don't freeze the borders, then it might try and merge those together and get rid of that whole which we don't want some just going to select that just just so it doesn't try sealing up our eyes wherever our cracks or anything to my Now you can always not freeze the border. See how that works show for you. But from here, we're going to go to pre process current. What's the first step that's gonna process now our 43,784 polygons here? I was going to come down and you can choose the percentage of decimation usually 20% is good and you won't see too much of ah, noticeable difference. In most cases, it really depends on the amount. Um, let's see what this This should lower us down to probably around 17,000 polygons or so Let's go ahead and had decimate current and would slip that do its thing on. There you go. We take a look here. We're now down to 17,292 Holly Jones and you probably didn't notice anything whatsoever, which is great, cause that means we had a lot of polygon we really didn't need That would be taking up this memory and rendering capacity of the platform that we'd be putting the game on if you were to be using this for your own gaming project. And again, you can come in here, you can process current. It's to get our new polygon count here, come back in and you can select a new percentage. We can try 20% again, which will drop us down. Teoh. Around 3000. We tried decimating that and you can see now we're seeing a difference here, like in our bone in that and so that's gonna be completely up to you guys and how low you need to make things and what you're willing to see and go to. And then you can just if you want to export the single model. You know, we're talking about export in the next video. But what that that will keep our UV. So we're just so used the ups who made earlier and put it on our lower polygon objects here , which, of course, you'll take that. And you will also do the same thing to your fangs. You're pommel grip and your blade. I still have this selected on just just changed it back to the basic gray in her guard. So you're gonna use those steps to apply your material that you would like on here. If you want to go that route and put your textures on and lower, you're probably gonna count if you need Teoh. So in the next video, we'll talk, though, how to export. Um, all of our objects here 15. Exporting Your Objects: All right, everyone in this video, we're gonna take a look at How do you export a rocket? Now is always If you haven't yet. Go ahead and save. You're completed. Project. Now, if we come up the top, there's different ways you can export. You come up to the plug ins here and where were? Yeah, you see fbx here, So if you want to use f p x or F B X apologies there you can go ahead and export or import and fbx model In this way, I don't use FB X myself as, ah, preference of model formats, file formats. I don't need Teoh. That's just a personal choice there. But if you want to do that, you definitely can. And if you're looking at and see brush for three printing, Uh, you do have to three d print of here. So you got all all these options down here that you go through, but for us, we can come right up here and with We've got our skull here and we've been just click export. And that is gonna explore just our skull as an O. B. J. And then we can come in and do the same to our pommel hit export, and get that and then do the same thing to our guard and grip and blade in each piece like that, and then we can bring all those objects into again. If you are using this for a game, we can bring all those objects into your game engine and then just have him all put together and then apply your textures and she aiders and all that has that's all within your game engine. If you're using these for game, which, of course, is completely different video all on its own, and that will don't do it. You've learned different techniques here. Um, you've learned how to easily create basic Palmer here that looks simple, clean and definitely works. You've learned how Teoh make a handle or grip here in a very simple and basic form, which could also take that to a much smaller, smaller level, instead of using the big gaps like we have, your use may be very small ones if you want to do some kind of wraps. In that way, you've learned how to taper object from one end to another, you've learned how to curve and bend objects as well as merged. More than one object together for a nice, seamless weld like we have here when we did our guard, you've learned how to use bullying is to create a simple and clean blade, which, of course, we bent and curved into the shape that we want. You've learned how to take something like a simple spear and learn how to do some of your sculpting from looking at your references to create the item that you need. You've learned how to do some basic UV unwrapping how to apply textures that will apply your materials have export your your objects. You've learned a lot through here, and that's about all that. You're really going to need to create any sword or dagger. Now you any type of simple? I guess he's a melee weapon in that aspect, but specifically if you create a bladed weapon, those are all the all the kind of steps and techniques to just have to kind of go through and you'll notice in something like this you really don't need to do a ton of I don't want to say actually modeling. But the sculpting part we Roberto create this and something that we really have toe sculpt waas the skull for details and shaping and smoothing around our guard. For Morris, I seamless merger. Seamless Well done there on. And then, of course, if you counts moving or bending, the apology occurs in that that we did with our guard. That's really about it. Simple and basic. Um, now I'm just gonna go ahead and it's going to save that. And I'm gonna go ahead and open up and had no going to open up a soul river that I had made previously. So you can get an idea of what it would look like after you've completely applied your textures and materials and everything that you want on it. Now I do say I do like the handle on one from our course a little bit better, but that's a slightly different aesthetic. But you can see this is the I bet what you condone. I guess you could say X are which can do what it would look like etcetera, after you apply some materials and textures onto it. So we've got the metal blade. We've got the metal guard, which again this guard is a little different then one. No, we did, uh, did earlier. We've got our skull. If you see, I've added my own little different crash. They have added some more traction. Skull got our handle with pommel, so that's an idea of what it would look like her could look like. Of course, you can apply your own textures and materials and have a completely different looking one than what mine is. But that old pretty much wrap up this course. So I'd like to thank you for sitting here and creating your own swords. I hope you enjoyed creating the Soul River. I hope you learned a bit about what you can do or how do maybe make a blade, maybe creating the blade. What's a little difficult for you? And this hopefully showed you Miller more of a simpler way that you could do something like that. I'd like to thank you for taking the course. I hope you enjoyed your time. And go ahead and go ahead and share your projects down below or in the project section. Wherever it is on here. Go ahead and share yours. Let me let me take a look and see how your salary for sorts turned out. Or if you made your own completely custom sword. Let me see how that turned. Ella, go ahead and share all that down below. But with that, I'll see you guys in the next course.