Zbrush: Hard Surface Sculpting for All Levels! | Sean Fowler | Skillshare

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Zbrush: Hard Surface Sculpting for All Levels!

teacher avatar Sean Fowler, 3D Instructor

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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

51 Lessons (10h 10m)
    • 1. Introduction

      1:28
    • 2. What To Expect

      8:39
    • 3. HotKey Review And Space Bar Trick

      13:36
    • 4. Masking And PolyGroups

      10:27
    • 5. Clip Curve Trim Curve Basics

      9:20
    • 6. Base Blockout Part 1 Lower Half

      13:38
    • 7. Base Blockout Part 2 Lower Half

      8:46
    • 8. BASE BLOCKOUT PART 3 UPPER HALF

      9:33
    • 9. Base Blockout Part 4 Face Plate

      11:17
    • 10. BASE BLOCKOUT PART 5 Cavity

      12:22
    • 11. Creating Eye Hole Section Part 1

      13:08
    • 12. Creating Eye Hole Section Part 2

      12:21
    • 13. Creating Eye Hole 3

      7:26
    • 14. Creating Mask Layer With Booleans

      24:17
    • 15. Adding 3 Dents Extra

      7:14
    • 16. Applying Customized Boolean

      10:16
    • 17. Problem Solving Boolean Operations

      14:39
    • 18. Creating Tri Camera

      14:54
    • 19. Blocking Out Sphere Eye Part 1

      18:55
    • 20. Blocking Out Sphere Eye Part 2

      15:19
    • 21. Detailing Eye

      12:33
    • 22. Creating Eye Connector Part 1

      11:31
    • 23. Creating Eye Connector Part 2 Arrays

      10:03
    • 24. Creating Eye Connector Part 3 Small Wires

      15:09
    • 25. Creating Connector Plug

      17:49
    • 26. Finalizing Eye Drawing In Wires

      12:07
    • 27. Finalizing Eye Applying Customized Boolean

      11:53
    • 28. Finalizing Eye Boolean Operation And Export

      9:41
    • 29. Recap And CheckList

      8:45
    • 30. Detailing Top

      8:29
    • 31. Creating CYBERNETS ARRAY TUBING Part1

      12:40
    • 32. Creating CYBERNETS ARRAY TUBING Part2

      12:10
    • 33. Applying DetailingCybernetic Cylinder

      12:26
    • 34. Applying Wires And Plate Cover

      17:58
    • 35. Applying Spine To Center

      10:05
    • 36. Finishing Center Detailing

      12:57
    • 37. Adding Secondary Wire Bonus Footage

      12:53
    • 38. Creating Temple Detailing

      17:35
    • 39. Creating Temple Detailing Part 2

      15:23
    • 40. Creating Temple Detailing Part 3

      11:15
    • 41. Creating Temple Detailing Part 4

      15:46
    • 42. Mandable Detailing Part1

      10:24
    • 43. Mandable Detailing Part 2

      11:55
    • 44. Mandable Detailing Part 3

      10:59
    • 45. Mandable Detailing Part4

      8:39
    • 46. UnderMandable Detailing Part1

      9:28
    • 47. UnderMandable Detailing Part2

      10:58
    • 48. Checklist

      3:56
    • 49. Chisel Brush Morph Target

      10:41
    • 50. Drawing Out Strokes

      11:53
    • 51. Finishing Helmet

      14:35
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About This Class

Hi there,

My name is Sean Fowler and I've been a 3D freelance artist for 10 years and a Zbrush artist for almost 13 years and I’m here to give you an in-depth tutorial in hard surface sculpting for Zbrush.

In this class we will be creating from scratch to finish a full industry standard sci fi helmet which I will be walking you through one step at a time

  • In this course you will develop a strong foundation to Zbrush  newest features for sculpting hard surfaces by sculpting through scratch an industry standard sci-fi fi helmet.
  • This course is meant to demonstrate how fast and complex details can be established in a short amount of time, particularly through live booleans.  As a result you will be supplied a customized boolean (yours to keep and use as you see fit). and shown how to apply it using match maker brush to establish detailing in a short amount of time.
  • Here I will demonstrate for you to learn multiple approaches in which to apply live booleans.  From mesh extracts to array methods to flush out shapes quickly for purposes of both blocking out as well as detailing.
  • I will be making a strong impression in narrating  hotkeys through out this tutorial for the beginners that enroll in this course.
  • Understanding the pros and cons when choosing between clip curve brushes and trim curve brushes.
  • Learn how to use Zbrush chisel brush and understand how it relates to its morph target features.

Meet Your Teacher

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Sean Fowler

3D Instructor

Teacher


Hi there my Name is Sean Fowler and I have been a Professional 3D  Freelance Artist for over 10 years. I'm new here to Skillshare but nevertheless I hold currently 4 years of experience with online 3D instruction and looking to expand to a new platform to be of service to you.

Little about myself, I graduated from Full Sail University with a Bachelors of Science in Game Art at 2011, which pretty much means I am specialized to work in games, be it prop modeling and textures, character modeling and, straight up to animation cycles in maya.  You could say I do enjoy a lot of the disciplines in the game production workflow.  I am very passionate about what I do, and I’m very committed in learning new things everyday.  I ... See full profile

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Transcripts

1. Introduction: Hi there. My name is Sean Fowler and I've been a 3D freelance artists for 10 years and a ZBrush artist for almost 13 years. And I'm here to give you an in-depth tutorial in hard surface sculpting for ZBrush. In this tutorial, we'll be creating from scratch to finish a full industry standards sci-fi helmet. I will be walking you through one step at a time, from the block out to the basic mesh, to the construction of the cybernetic I to utilize an array meshes and connecting that I to the helmet itself we will be covering at all. We're also going to be taking an in-depth focus into live Booleans in how we can flush out unique shapes through a variety of different techniques and combine those techniques with previously established methods. Now, this tutorial is for all levels from beginner to advanced. I have even attached several introductory lessons covering the most common features to be used in this course that are intended for the beginner level student to review. It is my hope that with this tutorial, you're going to gain a necessary knowledge and understand just how fast you can flush out complex shapes through Z brush in just a short amount of time, as well as have a fully complete sci-fi helmet of your own that you can build off of. With that said, let's start sculpting. 2. What To Expect: All right, so let's get started here. In this video, we're going to outline sort of a table of contents into what to expect. As long with personal expectations I'm hoping to have with the students. So first off, let me get to that. My personal expectations are pretty much categorized by three areas. And you would think it's to establish and learn hard surface sculpting. And that is absolutely a given in already true. But to be more specific, if I could divide this into three sub categories. The first one is to be having a stronger foundation to hotkeys. Throughout this tutorial, I'm going to be consistently calling out my hotkeys as I work in a decent peaceful manner so that it can be once again outlined ingrained into the mine because hotkeys are an essential part in maintaining what I would call that zone factor, in which keeps you from having to go outside of your main view port to look around the ZBrush for our UI system to say, What's this? What's this? What's this? Where's render it's under here. It's just better to simply have to know the hotkey so you can stay focused and not have anything break up being in the zone. So that's the first thing I'm going to hope gets established for all students to have an improvement. For. The second is actually a statement or an idea that is based basically said concept to learn, not mimicry. And what that means is don't get me wrong. I don't mind if you copy everything I do. That's what it's for. I don't mind if you posted it up and take credit for it of what you've made here. Please go on ahead. I'm happy to see it. In fact, please post it up on my my Facebook page if you find me, that's fine. But what I mean is is that it's far more important to understand the concept of one. I'm teaching you to copy exactly what I have for you. A copy precisely how I'm doing it on video. If you try, you don't have to be exact. It's owned. The most important thing is to get down the idea of what it's teaching you, what I'm teaching you so you can apply it to other areas of the helmet. Example would be the the array meshes that have been combined with the the gizmos 3D twist to former. That, that could be an interesting part in cry, you create under wires for the face plate on top. See I didn't do the two combination of areas, but you could do the two combination of areas on your own if you wanted to. So it's important that you understand that you can apply all these areas all over. We're just sort of doing each area of this helmet individually, just so you can understand the concept of how it works. And the third piece is this. This is the third main thing that I like all students to understand. And that is please try to watch the same tutorial more than once. When I was going through school, it had to be done. We had lectures for how we would work in ZBrush or how we would do modeling. And they would always have to be repeated no matter how slow the instructor went. And that's sort of a beauty part of working with this, a video tutorial that's been pre-recorded for you. You can simply, if I'm moving too fast for you at any time, I just simply hit stop, rewind and go again. Stop rewind to go again. Naturally, I'll be going at a slower pace, so I'm hoping that will be adequate for you. But for the beginner level students, they'll say I'm going too fast. And for the inner or for the intermediate students to advance students is, I'll say I'm going too slow. So I got to find that happy medium for both sides of the groups here. In any event, please, for the beginner level, students feel free to stop the tutorial rewind if I didn't and if there was something that I didn't cover in this tutorial or that I missed. Please don't feel free to message me. I'm very, very, very eager to help you guys out any way I can. So moving on to that, I'll just go ahead and outline what the sections are that we got. We have one intro area for the men, for the beginner level students, which is just broken up into a few basic videos for you to cover that we'll be covering the most common areas used when creating this tutorial. To start off with in that area, we'll be doing hotkey reviews. These aren't every single hotkey that you're going to be seen. It's only the ones most commonly used in creating for me that I'd use to create the hard surface helmet. So if you would like to know more, I can certainly hook you up with that. The next one will be understanding and reviewing, masking and poly groups will also be covering isolates, selection, as those are going to be very important parts in how we create our Booleans. And finally, we're going to be covering actually trim curve and clip curve, the two different curves that we're going to be working with so often throughout this tutorial. Now, this is going to be IOB wanted to actually touch base on clip curve and trim curve because it's going to be combined in so many different ways, so many different approaches. So I wanted to have a basic review for the beginner students that would help them out. So moving forward from that, we'll start off with Section 1. And Section one will be a basic block out of the helmet mesh itself. Should be the easiest section of them all. Just to give you a warm up. From there, we'll move on to Section 2, which we'll be covering the face plate detailing using Booleans and such. As well as going into working with Projection Master and how we sculpt art and create our Boolean sculptors. And Section 3, we're going to be doing separate ZBrush file for that and which will work with creating the cybernetic. I will be covering everything from creating a ray meshes and using in combining those with the deformers of the gizmo 3D UI tool will also be working with radial and insert radial symmetry and insert brushes to create some very fun and interesting patterns. As we go throughout this tutorial, you'll be surprised actually how fascia get through the, The, creating the cybernetic eye that you see here. And then from there, we're going to be moving to the top part of the section of the helmet, which we will be kind of putting everything we learned so far. Once again to the test. That will be detailing that top part of the head. And then the following sections. Section five will be the side detailing of the helmet from the temple region upper and then the mandible jaw like area, which will be the lower region. And then from there we're going to be covering Section 66, which will be sort of like a very small section. It's going to be a review, overview of everything, but it will also be the chisel brush that we're going to be working with. Mainly it's sort of like a final detailing phase section. And we're going to show you how morph target applies very strongly to the chisel brush, as well as understanding the lazy mouse to 0 and how well it's come, how far it's come since ZBrush for our seven. So with that said, I'm very excited to get started with this and I hope you are too. And again, I'd like to thank you for taking a look at this tutorial. 3. HotKey Review And Space Bar Trick: All right, so let's get started. In this lesson, we're going to be working with introductory level review. This is going to be about a hotkey review, along with the Space bar trick, which are going to be for the introductory students, the most important thing you're going to learn ever, the space bar trick is the most, we call it the Space bar trick back at school. But problem is, is that when you look at ZBrush, they just don't do a good job of really emphasizing the importance of spacebar throughout two people. So we always, we'll explain that pretty soon here pretty quick. So to begin with, we're going to review to you hot, all the hotkeys and that are most commonly used for this course. Now, if you're looking for every single hotkey you want your, I could, I could teach you, but unfortunately that's quite a bit that you would be asking for to give you an idea of what that means. That means that you would have to be looking at memorizing every single hotkey. There's a specific three button code hotkey for every one of these brushes that are not necessary for you to know every single one. I only know like half a dozen to be truthfully honest. And I've been I've never had a problem with that. So we're just going to cover the most commonly used ones and those fall into the category of isolates selections. So having said that, if you're not unfamiliar with bringing a mission, it's pretty simple. It's just the matter of selecting the tool that you want to be on and making sure that's selected in left-click dragging in pressing your first hotkey that you'll always use, which is the T key. Hitting the T key doesn't mean much, but want to go ahead and give you an example. Hitting the T key brings the a mesh in for the first time, but it doesn't mean that you are ready to start making this mesh sculpt double. Because once you hit the T key, you're now in the initialized phase, which is this phase right here. And here, we can change the topology and the nature of the wireframe in which we're at. And in once you're satisfied with a certain type of wireframe or edge flow that you want. Then you can then turn this into a make poly mesh 3D, which is right here up in the tool section where the load save as copy tool, import, export. They are all act. So once you have that, your next most commonly used brush and one that must be committed both to memory and muscle memory is the B key, B, as in boy. That's always going to bring up all your brushes. So every time you bring up a brush, you could go here. But honestly, from this point on, tried to strive in trying to fill out the brush key here. This is where you always want to be at. Now, if you're trying to do is sculpt of any kind and you like what you see, that's great. But in the end, when we're working with a, a hard surface sculpting, we're going to find ourselves in situations where we want to do a little bit more customization of manually typing the hotkeys out. So to give you further in-depth idea what to expect, we're going to have to do something a little bit more complicated in that is we're going to have to hit Control and Shift. And we'll see up here. And you do that. And I'm just flickering back and forth that the selection brush pallets become different. You get sort of a different set of 3D brushes that become accessible to you. And in here, you have an array of meshes that you will be using to manipulate clean cut Booleans with, you're going to be, I'm basically using this, the Polish hard surface meshes with it's all going to happen here. It's probably going to also be in a further tutorial I'd like to actually go through and do detailed individual reviews on all of this, particularly the trim curve and the clip curve in there differences. So having said that, the next key down that you are going to want to remember is holding Shift F. That gives you wireframe, which is going to be another very important thing when it comes for you to remember and see what poly groups. You wouldn't be able to tell that without it. So Shift F will be the next piece of quick keys that you're going to want to go with. And then now that we have a little bit of a mask here, we have sort of our next most commonly used hotkey and that is masking. Masking means at every point of any time, always holding down control. Like so. In while holding down control, you can go ahead and work with a mask. Go into detail more in masks at a later point in this introductory series. But I wanted you to know that control is going to be your biggest proponent. Finally, after understanding how masking works, we're going to also need to understand what making poly groups are and why they're so important. But before we do that, since this is the quick key buttons, these are the quick key tutorial. We'll have to just give you a little quick sneak peek on what it means to create poly groups. And that is control W. Or if you are on a Mac, it can be Command W. And as you can see, those are our polygon groups that we get to have. Now lastly, we're going to talk to you about the most important part of this for the introductory students to know. This is, I know I've said that holding the B key is going to be your most commonly used piece. But this part right here that I'm about to do is going to be the next most important thing. It's going to be the some people. It's a difficult thing to grasp, but it's depends on who you are. It's going to be the space bar trick. The spacebar trick is not really a trick. It's not really something that is, It's more about something that's just not commonly said. In ZBrush, it's overlooked, even pixel logic overlooks it, but it's one of the most underrated features about this in my opinion. And that all that is is simply holding down Control and creating whatever it is, either a mask or a clip curve or whatever it can be. And then releasing and then dragging this mask any where around. This allows you to get an up a accurate hardware part of me and accurate mask selection exactly where you want it. Maybe I it would be pretty hard to do it and eyeball it on your first try because you'd have to be very accurate where you have to be here. But doing it like this is the correct way. You want to always draw out all your masks. Now to review on how to do that. I'm just going to walk you through it very slowly. It's just simply holding down Control. Drawing up the mask with my by holding left-click down. And now I'm releasing control while still holding left-click. And now I'm just holding down the Mask button. And this is actually, it's the most important thing, like when getting an accurate result. It's also important to understand when doing masks, this applies to everything. This applies to a circle, the supplies to a curve when you're trying to do a curve right here. Just still the same thing. It's, in fact, curves probably have more of a stronger emphasis need on masking then marquee selection still. So that's all going to be very important things in trying to understand how to create an accurate, accurate selection. So to reiterate this one more time, this is the, basically the main theme of this whole lesson right here is the Spacebar key. You are holding down control. You are then holding down, left-click to draw out your curve. Or it could be your mark. In my case it's the curve. And now a releasing the Control key completely, my hand is free now and I'm holding down spacebar. And I can now drag this wherever I want. So for we, so that is the Spacebar key. Before we go, let's do just a quick review of the intended hotkeys that I want you to be keenly aware of to learn and develop a muscle memory to. And I will be calling these out again at, throughout the entire tutorial. It's going to be pressing the B button for your brushes, which should be simple to bring up all your B button brushes. Holding a apartment and I'm having a freeze holding Shift F to toggle your wireframe mode on, holding down Control to drag masks that you want. Creating the ability to create poly groups by holding either control WU, if you're on PC or Command W. And then of course, holding down Control and Shift to gaining access to your Quick Selection tools, whether that be the trim curve or the clip curve or a variation of one of them like the trim rectangular curve. And then finally, if I haven't said it and I think I did miss it, it's also the two-part section of the Space bar where you're holding down Control, releasing control while still holding down the curve with left-click that you drew out. And then now you're holding down spacebar to move that control. Now, having said that, that is the review, if there's one more thing I would like you to remember, it's at any given point. When you are here. Don't come up here to adjust your radical draw size ever. Always do it here in, in the middle. And that again, is simple enough to remember it's the Spacebar key. So that's sort of recap synopsis of everything to learn. It's okay if you do not have this completely committed to memory, because as you go throughout this whole tutorial, it's going to be engraved to you over and over again. I just want you to try to get a strong emphasis to be more, focus on creating quick keys. More than ever, i, if the muscle memory isn't there, it will come properly by the end of this tutorial. So again, I just wanted that to be there for the introductory students. Again, it may not be necessary at all. You may already know this and if that's the case, that's great. But for if a person's completely new to ZBrush, this is a very important concept to be understanding. So thank you. 4. Masking And PolyGroups: All right, In this tutorial, we're going to be talking to you about masking and creating poly groups. And they're very much one of the most commonly used pieces. The whole feature of this is going to be used quite a bit in this tutorial, the entire course of this tutorial. So I felt that this was a pretty essential one for any beginners that don't, don't have much experience on this bringing shift up to put this in wireframe. So you can understand this. If masking again for the review, we're holding control. And if I hold Control down, we'll start off with masking. First of all, masking is where we hold control down in anything that I sculpt afterwards on there. Just accidentally sculpt and then just there we go. Anything that I sculpt does not get affected by the mask and mote for most people, people think that that is the main function of masking. But what people don't understand is masking also plays a part for other purposes as well. Two primary purposes, in fact, that we are going to be using quite common in this. The first one will be to create poly groups, and the second one will be used to separate pieces of a sub tool into separate sections. So to go through that before we begin, let's just go ahead and reiterate. If I want to draw a mask, I'm holding down control and freehand is the default. While holding that down, I can make a mask and it's pretty simple. But if I want to take away that mask, there are two main methods and that's simply holding Control down and doing a marquee selection, declare it that way. If you don't like what you see, you can do Command Z. For anyone that doesn't know. Command Z is a slider button that is pretty much up here that you can undo at any time. And it's sort of like a history piece. But I apologize for not bringing that up in the hotkey section. There's just so many of them, it's hard to remember. The other way though, you can clear a mask is by coming back on here and holding down Control. And instead of drawing it out like I just did there, while holding Control down, I also hold left Alt or Option button depending on if you're a Mac or a PC user. While holding those two down, I can now subtract away. And if it's still too much, you can always just do it the old-fashioned way, just where you hold Control and then you go up to Ziade. I don't think that actually does too much. Apologize. I thought that I confuse that with a different one. But as you can see, that's the primary way in which we draw out our masks. So having said that, let's talk about how we can apply creating a mask and how it can be used to separate into sub tools. Throughout the tutorial, you're going to see me using mask method as a way to split pieces of a sub tool away from one another. An example is this piece right here. You see everything that's masked and maybe I just don't want this section a part of this sub tool anymore. So it's going to be me hitting, coming down to sub tool, hitting split, and then going through all the options that we see here. I want this piece away. And it's the piece that seems to be masked. So I go from split mass points. And now as we see, we have our own piece. We can also bring them back together again if you're interested by coming all the way to the top and then just hitting Merge, checking on weld and hit Merge Down. And it's back together again. Now, that is the first big reason why masking is going to be important for us. The second reason we're going to need masking is because we are going to be using it as our primary way of creating sub tool or a poly groups. Poly groups are going to be used a variety of ways. Think of them almost like ways of saving out masks to give you an idea of how that's going to work. Or touch base on another way we can create masks and invert the selection and how they apply to poly groups. So stay with me and just watch what I do here. And we're going to hold Shift. I'm going to draw a mask. And now holding control, I'm going to invert the mask by just simply clicking off to the side. That's again just holding down Control and left clicking. And then we have our mask inverted. As you can see. Now, how is that useful in poly groups? Very, very simple. First off, we're going to show you how we're going to create a mask. And that's going to be drawing it out. And now we're going to. 5. Clip Curve Trim Curve Basics: All right, In this last refresher course, we're going to be doing a review on the clip curves, the trim Curve, and their differences, pros and cons and how we're going to be using them when creating our helmet. First things first, they're both there are two curves tools that are used that accomplished similar results but have different outcomes. Unfortunately, to give me an idea what I'm talking about, Let's just go ahead and start off with something here. Let's append a 3D primitive piece. So you can see what I mean. To start off with. I'm going to divide this a couple of times and we're going to access our trim and clip curves, which we'll be using a lot of. By doing this, we're going to, first of all hold Control and Shift and come up to where the brush says, and find our 3D sculpting brushes in on here. It's sort of categorized in three main areas and it's going to be the trim curve and trim selection tools. Our clip curves, and course our selects which are the default. Usually I have it in one or the other. So let's start off with the trim curve. To trim curve is going to be your main tool when it comes to cleaning up a Boolean, which we'll be doing quite a bit. Now in the trim curve. To activate it. Once you select it, you hold down Control Shift and it will go into it's trim Curve mode. And from there, you will notice right off the bat, you get a warning sign that says meshes convinced, composed of multiple subdivision levels, delete or freeze subdivision levels and try again. So that's already a con. When it comes to the pros and cons of trim curve, we have to do a little bit of setting up. Having said that, we hit Delete lower and try to do this, notice one thing, we cut off an entire piece and it disappears and it a mesh of an, a whole poly group, as you can see, reappears, judging by the topology, it's similar to what you would see in a decimation process. Now this is actually pretty advantageous when it comes to sculpting out Booleans and cleaning them up. And I'm going to tell you why in a second here. So let's go to our next piece. And notice I hit Command C or the Undo button to get my division's back. So I can see, you can see as I toggled, all of these can just go back and forth. And now let's talk about our clip curve. And do the same thing again. And we can get a already similar result as you can see. And what a clip herb does different from a trim curve is it takes everything above and mashes it down perfectly right down the center. And that is already a advantage over the trim curve. It also can do it without having to worry about any subdivision levels. And already again, that's a big, big deal. And what's even more interesting is, is that unlike trim curve, which is pretty peculiar, clip curve has symmetry that you can work with. Having said that, why not just go with the clip curve over the trim curve? While there are still certain reasons I have, and that is for the purposes of sculpting out Booleans. When sculpting a Boolean out the operation to make a mesh into a new poly mesh projection of the Boolean sculpted will have errors and problems going into it that will turn, that will make the process freeze up. And one of them is non manifold geometry. And holding Control and Shift and drawing out my clip curve can kind of create non manifold geometry depending on what angle you throw it at. To show you what I mean. Exactly. It's this area right here that you're looking at. This area can create a bunch of issues where it's just flattened out like a plane, the normals and it doesn't know which way the normals are going in the polygon mesh. When you work with a trim curve, you don't have to worry about it because it completely removes that mesh. So that is the biggest difference in advantage between them. The only thing else that I would like to touch base with on is understanding the curvature and creating curves and explain once again and reiterate once again the absolute importance of utilizing space bar with any sort of a tool that has a curve like what you're seeing right here. This is very important to get an accurate projection through a curve. Like so. So having said that, we'll go head and just to remind you how left Alt or Option key works when drawing out a clip curve or a trim or any sort of curve. Even masks have their own curve exactly the same way. We have to take into account a couple of things. One is, is that once you draw them out, they can either be a straight line or have a curvature in them. And to do that curvature that it's kinda like pressing a Bezier, a point in there. And it's done through the left Alt, left options. So to walk you through step-by-step exactly what I'm doing. I'm going to just say I'm holding Control, Shift, choosing the curve I want. And in this case I'll choose this time trim curve. Making sure noticing curve is the choice that's chosen in all my strokes. And then while still holding Control and Shift, drawing out a line, I could make a straight line, I could make a curved line if you would like to make a curved line, release Control Shift while still holding that line and tap the left Alt Option button. If you don't like where it's at and you're still holding your curve. Remember, spacebar, hold it down. Well, and you will have a lot more room to work with. Space-bar, again, as I said, is a very, very, very important beast when it comes to making an accurate, accurate curve. Because sometimes it's very hard to predict when you draw somewhere out here where it's going to look like up here, you may have to make some readjustments and make your point lower. So spacebar really, really does come in candy. And again, just for repetition, and I just want to keep this ingrained into anybody that's new to this. It's simply holding Control Shift, drawing the curve out. And still, while still holding that curve, releasing control shift. And with your free hand, just start holding down spacebar to move it all around. So again, I'm going to be covering that in reiterating, again on all of those things as we go through this tutorial. But what do you say? We begin by sculpting out our futuristic cyber helmet. 6. Base Blockout Part 1 Lower Half: All right, and let's get started. So in this tutorial, we're going to start by establishing the base mesh and work on creating the first of the Boolean sculptors that will help in creating that base mesh for the lower part of the helmet. So to do this, we're going to start off by going into our tool setting right here, making sure we have a tool drawn in. And if you haven't already, make sure you're hitting down the teat, draw it in, hit T key and make into Pauling mesh though it's in here. And then we can begin. We'll start off by saying that we're going to be using a, oops. There we go. Much better. We're going to be using a Move brush as our first to kinda get the initial state of this. And for that we're going to be selecting the Move brush here just by hitting the B key and hitting M key. And if you want to go on and further on the abbreviation of quick keys, the key. Like to also note that we are going to be working in cemetery mode when we do all this. So make sure the X key for a cemetery is turned on. And come over here and make sure local cemetery is also toggled on. When dealing with move brushes. If you're not too used to it, don't try to use too small of a brush or else you'll only be creating these unwanted little grooves. We don't really want that. We want a fairly wide and large size brush to start off with. And to start, we're just going to make these small movements here. And all we're doing is creating a basic mesh for us to start off with. Sort of like a Helm. Big up there. Maybe a little old bullish theme. Sure that it's nice and round up here. And we could just do a little bit of flattening. I'm not going to spend the largest amount of time on creating all of this. I can just sort of eyeball it and say, hey, that's probably good enough. Then using, Let's divide the poly mesh up a little bit now that we got what we want by holding down Control D for divide. Or you can come down here to geometry and just hit divide right here. I did it a couple times already now and you saw my mesh screw. That's why you have three divisions. And that's probably where all we're going to be doing. I'm going to turn off cemetery key right now because I don't want to worry about one side on what I'm going to be doing here. So now I'd like to draw in my first Boolean sculpted and peace. For that, I'm going to hold down the Control key and just simply draw in something right here. Thin, too crazy, nothing too out of whack. Just something like that. Now, let's say I'd like to go ahead and sculpt this piece out. And if you want to get an idea what you're making, I can go ahead and hold down control and I'm in Mask Mode again. And I'd like to actually give some shape and form mask. So I'm going to switch from my freehand mode to my curve modes. So we're going from this mode here to this mode. And we remember we hold down curve by holding down control because this is for the Mask section. All that's needed is the control. And to create a curve within a curve point to bend this mask. As we recall, it is a left option key. So I'm just going to start off a little more shallow down here. And our left all key is another way to put it in. I'm just going to and tap it. Tap it right there. Now I got a little bit of a bend curve. Now I'm subtracting away, so I haven't let go of it yet. So I'm still going to then hold down the left Alt or Option key. And then while doing that release, I get a little bit more of a cleaner mesh. I know it seems jaggedy too many. I'm not really too worried about that little heavy resolution. That means seeing right there, It's not a big priority to me. And I'll show you why. So I'm just going to go through and do the same thing. And I'm also going to say, if this gets to be. Before you hit pause, rewind, make sure to go over it two times, three times if need be. It's not necessarily meant or intended to be something that you're supposed to grasp right off the bat on your first try if this is new to you. So again, I'll go over it. It is holding down Control to draw out your curve. And also releasing control just so I can hold down spacebar to move this around. And then somewhere in the middle here is where I'm going to hit it. And by the way, I really spacebar at this point. Now I am holding and tapping, I should say leapt Alt or Option key. I'm getting myself a new little spot right here, and I want to subtract everything that's on the shadow side. So I'm again going to do that. I have to hold left Alt or Option key and I'm holding it down and then releasing the curve. And again, do it one more time. Like so. That looks like what I want to go for. So there's several ways we can take this, but a lot of people say to themselves they can make a group loop out of this. And I'm just simply push it in. I don't want to do that. I want to read, make some more use out of this. So what I'm going to do, so I'm going to take this shadow area here and use our mask extract feature. And for that I'm going to come up here to where thicknesses because I'd like it to be a little bit more thick and see what the projection mode gives me for that. And anything that's masked will project what it looks like. And once I'm happy with it, either by adjusting how thick I want it, I can just simply hit Accept, which is going to make it a little bit more like so. And then we're going to hit extract. I can deal with that. Let's hit Accept. Finally, let's go ahead and turn off up here and sub tool the helmet. I'd like to just work with this piece. Now, as we can see, this is going to be our Boolean sculpted piece. This piece is going to be used to sculpt into our mesh, but it's got all these little wavy lines here as a result of the resolution we extracted it from. So let's see if we can take care of that. I'm going to hold Control Shift. And then I'm going to come up here. I will get my select key, but I'm gonna come up here, tap on the brush, and then move all the way over in hit trim curve. I want to work with trim curve not to clip curve because that creates some non manifold mashed down geometry that kinda messes with our Booleans operation process when we want to convert everything down. So again, just like how the curve brush works, we kinda cut that down. And you know what? I'm just going to do something here. I'm going to divide this one up a little boat pulling controlled BY, just going to give it another division. Whoops. Important note though, when you're using the trim curve brush, it is, you do have to take off your divisions. After you divide something, you just go through D geometry and hit Delete lower. So it will be an important note to remember. And there we go. We got ourselves one clean piece. And I'm just going to do the same thing here. Whoops. Just as I'm correcting my errors, I'm simply hitting the command C or control C, Undo button if you will. All these all I'm doing is simply trying to create some smooth ends here. Like so. And right here. And now we've got ourselves a nice clean little piece here. Maybe I could have made it a little bit thinner, but that's all right. So now let's go ahead and turn this back on. I'd like to turn this into a live Boolean. So to do that, we're going to come up here to where it says Live Boolean and turn that on. You can also do that by going into the Render tab and just simply hitting Render booleans and then you have it right there. And then let's turn this sub tool into a glean piece to sculpt into our main tool. And as you see, this is what we get. Now the real fun happens. If I hold Shift F. I can still see the Boolean piece is still there, but I'd like to get this gizmo, which I brought up by hitting the W key to be right here where the pivot point is. To do that, we go ahead and change right here. And where this little, I'd say little marker pieces as a circle and it will from a upside-down teardrop. And now I have a Boolean I can work with and sculpt around. And I'm just going to play around with it a little bit. This is, this is one of those things where again, you know, concept and mimicry are two different things. You don't have to necessarily get the exact result as long as you got the basics of it. One thing I like about this is that you can actually do some interesting shapes from it. So don't feel like you have to get the exact piece that I want. I'm going to go ahead and work a little bit more with the move tool on this Boolean. Draw sentencing we go if you work with can draw size and get some pretty interesting results. Still, even from that, I'm going to leave a little bit of a dip here. Remember, you can still edit this piece even in its Boolean mode. If I hit Control and Shift, you can still take some pieces here and still make it look somewhat interesting if you want. Again, concept before mimicking the video, you can hit pause, make your own piece. That's quite all right as long as you're grasping what you're seeing here. And then finally, when you are happy with the PC you've got in this case, I'm just going to just leave it like that. I'm going to make sure my Boolean pieces selected. I'm going to duplicate the piece. And then I'm going to go ahead and go down to deformation. And I'm going to hit the mirror key. And that will bring it all the way over here, makes sure the correct access is applied when mirroring it over. And then after that, we're going to turn that piece as well into a Boolean. And that concludes our first part in sculpting the lower section of a Boolean piece. 7. Base Blockout Part 2 Lower Half: Alright, this is going to be the par where we finish up our, our lower half block base out. To recap on where we are at with everything. Just a reminder, we have. Let's see, two pieces of Boolean set are sculpted. There's one right here, and then the other piece would be right over here. As you can see, those two little confusion. Now, one thing I'd like to put it like to put a little spike. There are a little shard peace within their soil. I'm not going to really save myself too much time on this. I'm just going to simply take an existing, existing Booleans sculptor and duplicated across to locate the sub tool down and work with that as my sharp piece to save me some time. So to do that, I'm going to first of all make sure it's selected, come down and hit Duplicate. And that gives me a new piece. I'm just going to hit the W key, move this across here. And basically it's going to duplicate that Boolean sculptor back into its original mesh form. Wanna make sure trim curve is selected and holding that down, I'm just going to to terminal and stuff. I'm just going to go ahead and I'm going to refinished this refined this piece. So I'm just going to hold down Shift and Control and start holding left option pieces for my anchor points and where I want this curve to bend right there. And then I'm just going to simply sculpt off more pieces from this to see if I can get something that is somewhat interesting of a shape. One of the interesting curvature me that's actually getting already closer to what I'd like to see. Maybe do some word climate with the move tool. Too small. Nothing too crazy or too special here. Again, I'm just going to once more to than this out, just a little bit more. Little bit. Piece right here and turn this back on. You should my Booleans or reinitialized. And then I'm going to move this one above here. Now if you're, and I'm just going to bring this like right into the piece again. And to help myself, I'm just going to use the tools of the gizmo to sort of help me out on this as well. If you're feeling like, Oh, it's too shallow, remember that's the beauty of working with Booleans. You can still adjust these at any point that we made any sort of a mesh or anything yet. So I'm just rotating around to sort of accommodate the mesh here that I'm creating. I can even make more adjustments. Maybe I don't like this going so far up, so I'll just cut the Boolean across and get myself a nice little piece right there you go. I don't like that angle. Maybe I don't want to worry too much about that angle. That's beauty again, of this whole block out phase, we can just continue to customize the Boolean any way we want. The only thing you gotta remember is whatever you do on the right side, you can do on the left side. So it's not a big deal. Since I did do that change, I'm just going to delete out the other side Boolean here. Finally, I'm just going to bring in a little bit more. We should probably keep in mind if there's any sort of meshes. This is up against those should always do any kind of cut through. It's transparent mode, just to things a little bit more safe. Sound. There we go. Let's turn back transparent. There we go. Again. If things are now looking your way, There's, like I say, mimicry comes second to grasping the concept. What, of what you want sculpted? So keep that all in mind. As always. 8. BASE BLOCKOUT PART 3 UPPER HALF: All right, welcome back. Now, here we are. We got ourselves a little bit of a lower pace. In the mandible region sculpted. I did a little bit more revisions using the clip curve brush on the end there from a certain shallow angle, get that serrated edge. So I'd like to go ahead and now take this time to once again reuse the Booleans that we have had in the previous section to be sculpted onto the top, sort of reusing what we've already had and seeing if we could make something out of it. So to do that, I'm going to first take my, I took my two Boolean sculpted pieces that sculpt in this major piece right here and combine them into a single sub tool using the merge down feature. Now I want to go ahead and take that very same tool, and I just want to go ahead and duplicate that. So that of course turns it into a mesh. That's quite all right. I don't mind. And now what we're gonna do is we're going to hit the X key. And we're going to move this piece all the way up. And as you can see, we get our pieces up here and I'm going to now hold Shift and simply move this around. Like so 2, I get a nice little turnaround here. And now I'm just going to go ahead and turn this into a Boolean piece. And we just kinda use these corner top arrows here. You can kinda briefly move them around. Be very cautious. Very unusual thing about this mesh and that is this, if you have two symmetrical meshes and you intersect it, the sculptors like so. And then release it. This very weird sort of situation with Booleans. And it's something that probably I would say is the pixel logic error issue. So do your best to try to keep your Booleans as best as you can from intersecting each other when you're doing that. Let's go ahead and turn this back on to our Boolean mode. I'm just going to drop this down and I'm going to see what it is. I can get out of this. What interesting, cool looking Hicks. Can I try to get without them having to clash and into one another? Let's see here. This is not, this is definitely not what you would call science. This is definitely trial and error. Think of yourself like the sculptor that is trying to search for that piece instead of trying to eyeball exact mimicry of what you're trying to find here. Already. I just moved this into a place that I love what I'm seeing right here. And I may actually just hold on to that for a little bit. By Qin. I'm going to start by, first of all, like to move this piece up all the way. To do that before anything. I'm just gonna go ahead and reset the orientation of this now by hitting the unlock key on this lock symbol and then go into this circle with an arrow on it and hitting orientation, then locking it back up. So then I can just sort of it can sort of get a reset orientation along the x and z-axis. And I'm already liking a little bit more and what I can bring to the table with that. Now, like to see if I did a little straight line through there. That's not so bad. Go ahead. Now, I'm going to work, do a combination of this and working with the move tool, see if I can get something a little bit more out of it. Push some shapes around, see if I can do something a little bit more strenuous. Remember, this is, this is not science, this is just finding your shape. And that's what Fly booleans can kinda do. They're an excellent, excellent way to flush out some interesting looking shapes. Now, see why can this is experimenting now. I'm gonna see if I can get something cool out of this. And no idea what something's going to look like until I actually push it. And that's what I would like for is my hope that you, the audience tries to find as well, is to just try to do your best using either the move tool or the clip curve or the trunk or preferably the trim curve as much as you can to see if you can find in edit, modify, the light Boolean sculptor that you see here to find some interesting and cool shapes out of it. Sometimes be the Shift F. Can sometimes help me here. To kind of looks pretty neat. Now. Now I'm looking at the sun, I'm kinda eyeballing this and I'm seeing some resolution there. See if we can change that all. Keep your eye on that and told shipped at and let's see if we can try to work that out with the clip curve. Since clip curve has cemetery, try to stay away from it as much as I can. But you have no choice. Hold Control Shift. Look for that clip curve and click on it. And see what you can find. Already. We have a nice cleaner piece here. So much on the other side though. Given this is all just eyeballing. For me, I'm actually kinda happy with this piece. Consider just goes again to show you there are a lot of different ways that this can look. And that's the biggest tape take-away when you're editing booleans is that this really does have a lot of different approaches and shouldn't confine yourself into thinking one way. You should give yourself some time to look for shapes, if you can. It's actually kind of an interesting experience where you just fall into that really cool looking shape like this one right here, I would be satisfied with. In fact, I think I may just call it on that. So that will be for how we flush out a shape down here. There's anything else you wish to to explore into on this. You please, by all means, feel free to take your time on it. But until then the next lesson we'll be trying to get a base mesh out of the face plate that we're going to extract. Thank you. 9. Base Blockout Part 4 Face Plate: Okay, welcome back. In this tutorial, we're going to see if we can do a little bit of a blackout to a facial plate that we're going to go ahead and have foreign extract. So to do that, let's just go ahead and see if we can get ourselves first off onto the main mesh here. And to do this, I'm gonna make sure my symmetry is turned on by hitting X. And I'm going to hold control down, make sure free hand is available. Shrink down model piece right here. And honestly I'm going to add another division here. I'd like to I'll make sure. Oops. Could be a reason why the tree already at the top of the tier vision, but I also have to clear a mask off in order to buy. So I'm just going to do division. And now I'm just going to paint in a rough facial plate mask. Think in something from GIGO, maybe some like cobra. Often too crazy, nothing to honestly, I'm not even really too concerned about the edges and just trying to get some decent. And then I'm probably going to go ahead and just clean up the edges through, subtracting the mask off. Now I can do it with this free hand, but think I'm going to do it that way. I think the way I'm going to do it is I'm going to hold down control and go back to my curve and just simply subtract pieces off with a nice clean curve like so I'm going to first hold down with control. And now I can release control as long as I'm holding down with my right hand, the Control button here, I'm going to tap the left option Alt key, and then release and then go ahead and hold down the spacebar. Maneuver this around. And we're just going to then hold down left option all to clear away. And good thing we had symmetry. I just kinda wanna do it that way. Thinking. Maybe add a subtle curve right here. Remember it's everything on the shadow side that gets affected, whether it's minus or adding. All right, Let's just go ahead and clear this way down here. Are self something that's fairly clean. All right. I'm not too worried. I know a lot of people want that clean edge, but we don't have to worry about that right here. This is good enough for me to do a mask and extract here. And I'd imagine I'd like to make this pretty thick actually. So let's just see what we can get out of that and that's a little too thick. So let's go ahead. Just kinda mess around with different features. Whatever works for you, maybe for some that's a good feature. You can just kinda toggle through. And you know, I think I can work with that. So I'm going to hit Accept. Now I have a new mask and new faceplate. So this cheese, because don't commit yourself just because that's the pisa made doesn't mean anything. You can still work with this. You can still shape this in any way you want. Don't worry about cleaning up the edges just yet. Just, just try to worry about making that move some brush big and you want to go through and try to find some interesting shapes. I'll, I'm probably going to see if I can first of all turn symmetry off so I can center that right in the middle terms. Keeping symmetry off, I'm just going to squish this down, maybe a little higher. And then I'm just going to go back and draw mode and turn symmetry back on. All right, so lots of different ways we can make this look. But for the most part, I'm going to want to create sort of like a boolean on top of that with this piece. And we're not sure yet, or it's going to be in any event, what we do need to do is try to work on cleaning up these mesh pieces here. I could have always done a panel loop, but I always get some very wonky weird results from panel loop and it's just a nightmare trying to always clean things up. So because I'm not doing any Boolean features that are cutting into this. I'm going to be a little bit more lenient and use my clip curve also because quick curve is gotten only advantage clip curve has over trim curve is its symmetry feature. So let's just go ahead and clean out these little ripples here on the edge here. Let's see, I'm going to turn this off to own a turn everything off actually. So I just have this piece right here to work with. I'm also going to quick save, which I guess we should all be doing. Guilty of that. Whoops, I'm not on the right tool. There we go. That's already looking like some online, already beginning to clean things out. Let's make that a little bit more. All right. So we already got something here and make clean a little bit of this later on, but let's go back into this again. Now. Your, that's why I make it a little bit deep because we can always just push this in if we don't like the thickness, we can just go ahead and change that any direction that we want. Personally, I kinda like a thick piece right there. Let's see if we can know work. Let's see if we can work something here. Let's see if we can work with sort of like a bevel into the heart surgeons piece. Maybe you need to go a little bit more like so. We can get kinda like a cool little piece. It also leaves a X1 starting spot for Polish case. Anyone wants to manipulate this or clean it up a little bit more. We have wonderful polish brush, polishes. A very difficult brush also because it's one of those brushes that it requires practice, sleight of hand practice. It's even get some amazing results from Polish, but it's a very subtle brush that requires a lot of control. And it's also a brush that requires a lot, a lot of dependency on what your sizes based on what you're trying to polish out. So just keep that in mind. I'm going to just keep it there for now. And one last thing in this is more experimentation. I'm going to actually look at turning on all back, all my Booleans. I want to look at my top Boolean here. Looking at it right now. And I'm wondering if I duplicate that Boolean. Let's were all experiment in right now we're just no harm, no foul. We're just simply looking at how things can look. What would this look like? We just try to kind of get an interesting looking shape right there. Which I'm pretty happy about right there, which is like that. Oh, I did once again was I've been working really through this whole thing with the single Boolean that I carved. And then all I did was duplicate that same Boolean and then duplicate that Boolean again and then duplicate it three times. And every single time I've been doing with simply manipulating the Boolean with a combination of clip, trim and move brush. So if there's any lesson to be learned on that, it probably be remember those three. Aside from that, that's sort of how we got to bottom line on how we got where we are so far on this. So when we come back, we're going to finish up our base blackout by tackling the side mesh in the head sculpt, and then we'll be ready to move on. Thank you. 10. BASE BLOCKOUT PART 5 Cavity: All right, Welcome back. This is the last tutorial that we'll be doing in the blackout section. All we need to really do for this section is sort of create ourselves a little gap hole of four. The detailing that we're going to be doing later on in this tutorial. So for that, let's just go ahead and go through sub tool to the right of here. Hit Append. And from there we're going to want to hit, whoops, most of their cylinder right over here. And now we've got ourselves a cylinder. It's all the way on the bottom here. Like to go ahead and try to just about delete that a few times and then I'd like to cut this off. So for that, I can work with clip curve on this and I think we're going to be problems on it. And we'll get ourselves a very flat surface. So let's go ahead and get this out of the way here. And let's see if we can do something about the soul. Let's see. We'll also try to do some experiment in here, like I always like to do. And that's always fun to see. Like to duplicate this a couple of times more. And maybe invert this. And now I could put some group loops on that and make that a lot smoother, but I'm not going to worry about it. So what we wanna do is we want to kinda create a stationary place for the detailing that we're about to do will take place in all we need to have starting off is a cylinder that is cleaned at the edge is using your clip curve brush. And then we're going to turn this into a Boolean sculpted piece like all the others. Now, size and width and height of all of this is going to count for everything in terms of how well this looks. So let's go ahead and first start off by getting this into Boolean mode. See what it looks like. And let's go ahead and shorten it down and maybe shrink it a little bit. Let's see what we can create out of all of this. We can do something right here. This is actually quite interesting. It's actually could work. Let's see what else we can do. I'm just going to size this up. Once again. See me an idea, seeing what the scale is that on here. Feeling like we could move it back. But we're going to kinda come into a problem right here. So let's go ahead and turn this off for the time being, and go back to our Booleans that are right here. I want to shave this down in once again, that's the beauty of working with Booleans. You can always read, cut it down. So let's go to transparency so that when we cut this down, we'll have a little bit more room, wiggle room to work with here. I'm just going to not use clip curve, but I'm gonna go back to my trim curve. I'm going to actually try to put this on so I know how far to shave down. No, not that way. Curve on there. Already we're getting some better results. Let's turn that back and transparent mode, and now we got a much better result. Well, let's go back to our spherical Boolean. Let's make this a little bit wider. You can. So I'm just going to position it like so. They did a little editing on the very first Boolean we sculpted. Now the only thing left I'd like to do is I'd like to actually cut this down a little bit. I'd like to actually do something here. So for that, I'm just going to simply trim curve brush right there. Whoops, it's got divisions on it and can't work with term curve if it has divisions. All right. Let's let's delete the visions I had some higher and lower. So let's go ahead and delete those out. And then once we do that, we can probably go through and that's one area. I like how it doubles like a little one right there. And see if we can make some parallel to this as well. Perfectly parallel. But here we go. That's one area. As we can see. Now we're gonna do something different. We're going to hold Shift down. And this time, if you're using a PC, it's control and if you're using Mac, it's command. I'm just going to, for universal sake, just use the Mac. I'm going to hold Control down and press on the translation button, and that will duplicate my Boolean. And now, when I do that, except I'm gonna go in. Let's see, holding Control, pressing the Boolean. Now we've duplicated the Boolean. You can actually go in and make some interesting pieces or anything. Make some interesting side pieces there. In this particular case, I just wanted to show that, that that is another option. What I think I'd like to do though, is append another sphere. I probably should have duplicated the first sphere I had prior to this. And I'm just going to clip this off again. I often like to leave anything. And we're just going to leave this off and rotate this oft 90 degrees. And once more, 90 degrees. On the y and z-axis. The tourney. Once we scale this down, we're going to be making this one also into a Boolean piece. Well, it's been really too crazy, just little bit of a area that just wants to go underneath the lip here. So let's let's go ahead and make this a shallow piece. I'd like this to go underneath this upper lip here. Maybe move it over. We can have ourselves a little bit of fun with that. Manipulating that around, having a whole bunch of fun with the keys on that. You can also do something a little bit more. Here we can sort of trim down the pieces. If they stick out too much. You know, is do that. I think actually going to angle this out, then reset the gizmo. And oh, whoops, I got to lock it out. That's why nothing was happening. That could create a little bit more. So feel free to know. Don't just do perpendicular maneuvers, just a, sometimes that can be an interesting shape as well. So what you wanna do then is you wanna go ahead and do the same thing. On the other side, you want to take these two sub tools and then we're going to duplicate them. And then assuming of course they don't have any divisions, we mirror them and once again reapply them as Booleans for both sides. Now, final thoughts on this. Our that if any, anybody feels at all this is going too fast. Usually if you're seeing something for the first time, that is going to be the case. I know that I have had to have many things explained to me over and over again through my instructor. So the beauty of this is, is it's a video that can be rewound. I would always say again over and over again, that mastery of concept comes before mimicry of what I'm doing exactly on here. So that is very important to grasp of. If anything, you may notice I'm always, constantly trying to repeat the words of the quick keys because if there's anything that helps somebody or movies make somebody move fast in ZBrush, it's their mastery of the quick keys. So I hope that, that will come in handy for you. Like I said, if anything is going to slow, that's if it's new to you, take your time, slow it down, hit pause, it rewind. Take your time, slow it down, hit pause, rewind. I know when I've had to learn coding and C-sharp, this also was something I had to take my time once again into something before, over and over again before moving on to the next lesson. So in any of these cases, you can go ahead and just hit pause and catch back up to it. Having said that, this completes the first section. Congratulations for getting through it. And let's move on to the next one. 11. Creating Eye Hole Section Part 1: Okay, this next part is going to be about detailing the face, actually specifically the face plate. The first part of this we'll be using Projection Master to create a different type of Boolean. And then we're going to basically create and punch in a hole right here using that Boolean. So to recap, we'll start with grabbing a sphere and appending it onto this piece right here. For we start, I'm just going to hit say, and I think I'm just going to go off here, two different sphere here. If you haven't, just go ahead and click tool and click on the sphere 3D. Remember we're in the initialized phase, so let's go ahead and get out of that by making this a poly mesh 3D. Now, from here we can sculpt. So I'd like to go ahead and divide this up a little bit. Let's see what we can do. Command D or Control D to divide, or if you will, we can go to geometry and simply do it. They're always going to say, go for the hotkeys as well. And from here, we're going to sculpt in some details utilizing Projection Master. Before we do that, let's go over here to the right-hand side and find display properties right down here. And with the spirit display properties, we'd like to click on the double. And that's so that we get a projection on both sides when we enabled the projection master. So to do that, we'll just click double. And I like to get this little, if I'm in wire moda, like to actually do this kind of sideways that way. I'm not fighting against any massive tie off here. So from there on out, I'm going to just hit the G key. And that will bring up my Projection Master. I like to name a couple of settings right here. And one is going to be double-sided. And I'm going to check on depth formations. And I'm going to turn off fade. And this will, this little illustration we'll kinda help you and telling you what happens. When we check all of these. If I checked on fade, only, things would fade off on the top side of here. And once you see that you're going to know what I mean. So make sure fade is turned off and then I'm just going to hit drop. Now. I'm just going to hit back they poly paint texture and just go over here. And that's all I need pull out. So now that I got that, I'm going to go through and make a couple of settings on here. I'm going to enable my line work right here. That would pro, and I'm going to work on a spacing decrease some just going to turn it down to 0.02 here. And after that, I'm going to holding shift. I'm sorry. I'm going to actually draw this out. And then as I draw it out, then hold shift to get it snapped vertically. That way, I can not worry about the cemetery or the angle at which I'm drawing this because it will be locked in as long as I have that shift held down. And now I have a nice little line there. I'm going to hit the W key. And this isn't exactly what the gizmo is. This is sort of old school stuff right here. And with this, I can manipulate the movement of what it is I'm projecting. And in this case, if you want to move something left or right, you have to come up here to this little neon arrow and just kind of click right on top of it. And you're going to get what you want. And after you find something you're satisfied with, you wanna go ahead and hit hold down Shift and then S. And that will duplicate your stroke. So you can see I have a duplicated stroke and I'm going to change the nature of the stroke now C to a. Like so. And then now that makes basically the exact same depth, but more of a minus feature. I'm pressing the E key to go into my scale mode so I can kinda once again toggle left and right to change the width here. And I'm just going to again hit Shift F, go into W for move. So I can work a little bit more and maybe do a little variation of that. And that's all I'm gonna do right there. And then after I'm done, I'm going to hit G again. And then I'm going to pick that up, see what my results are. That's not so bad. I have a little bit of a dark masks here that's probably from the polypeptide and I'll just make sure this is enabled to widen just Hill Fill Color and that takes care of that. And now we got a little bit of a Boolean sculpted piece here that we can use, which is fine by me. Let's go ahead. We can do a couple of different patterns out of this, but I'm not going to spend too much time on it again, I wanted to just give you that concept of sum we can create really quick. Let me go back to our mask now and going to hit append. And I'm going to, while hitting append, a quick pic screen comes up, we want to look for our sphere and get that appended on their rule. All appends usually result in less sub tool. So we'll just bring that, go to the last one and there is. And I'm just going to using the gizmo to manipulate a little hole, punch in. And if you haven't guessed it by now, this is going to be what we use for a Boolean to punch a hole in the face plate so that our little winery I can come out of this. So it's kind of a two-part section here. First things first, I'm going to make this a Boolean. And it's still there, didn't disappear on me. And now we have our piece. And again, concept before anything else. This is you're just going to have to eyeball it and using the gizmo keys. Try to do your best to get in there. Maybe pretty excessive glute, big binom. Okay. We might also be someone with Shopee. So think I want to notice I'm actually using a scale to flatten it down. So it kinda looks like a spherical potato. And it's cutting off right here. So let's just do our best to try to make it to even across all sides here. Obviously, I'm going to have to push in just a little bit more. First I would like to write. You're going to want to bring them all the way up there. Be interested here. The artists perfectionist that's working on trying to get this piece. Yes, that's right. Sometimes being perfectionists can be a little bit of a curse. And I'm going to just stop right there. I can do more probably with that, but sake of conveying the concept to you, I'm going to give it to like that. Finally, I'm going to then look at my one of my Boolean pieces here that I've done right here. Let's go ahead and reuse it. We don't need to append and start cleaning up and new cylinder. I mean, you certainly can, but let's just go ahead and see if we can reuse this guy. So I'm going to hit Duplicate and I'm going to hit the center pivot. And then I'm going to take this guy basically duplicated the sub tool so that Booleans still in place. I'm going to move this now around and going to re-scale and reuse this piece. My own personal. One thing to keep in mind about booleans is that if you have too many of them active at the same time, you're going to notice, obviously, as you may have noticed here, that the frame rate on your ZBrush will go down. So when it becomes suitable for you, you'll eventually have to click on this piece right here and make a Boolean out of it. I'm going to do that after I get through the basic pieces. But I wanted to go ahead and give you the heads up on that one. Oh, as we will see right here, a Boolean, the sphere boolean is basically having an effect on this Boolean. And that is because of the fact that this Boolean is above this Boolean. The order of the sub tools in which they're casted basically has a direct effect on which sub tools get affected by the Boolean projection or not. So in other words, if this is a boolean right here, anything above it and up in the sub tools will be affected. So what we wanna do is we want to move this below so it will no longer be affected. To do that would just come down here and it's where it says move down and the arrows key. And we do that and move the camera around. And now we got our piece. Let's go ahead and turn that now into a Boolean. And that's all I really need. I can do a lot more to it, but right now, actually I think I'd like to make I can always make that actually a lot bigger. I'm not going to to any detailing inside of the eye hole because there's going to be a very wiring looking technical thing coming out that's going to be covering all of that up. So not too much of a trouble. And that will be the first part of detailing the front face of the face boys. 12. Creating Eye Hole Section Part 2: All right, Hello and welcome back. This is Part 2 of detailing around the eye with the facial plate. We're going to be continuing to sort of doing some extracts around here using hard surface and Booleans we're in all seem to be working a little bit more poly groups. However, before we can begin any of that, one thing I'd like to go ahead and do for this is actually do a little bit of adjustment to this eye piece here because of some certain patterns that I'd like to get through. I'm going to actually want to scale down the eyepiece Boolean, the little sphere that we made in the last tutorial. So for that to begin, we're going to go ahead and cycle through and look for actually are I and I believe it is right up here. Third one in and my goal here is to a little bit of space, little bit more space up here, but more importantly, leave a good inch of space out here for some of the extracts that are going to be coming through. So to do that, I'm gonna just kinda start. I know that means I'm also going to have to work, rework the second Boolean I put in here, the cylinder to let's just turn that off right now. I'm just gonna go ahead and start by just kind of moving it over, shifting it. And finally I'm just going to click on the very center yellow squares so I can scale that down a bit. And that's just so I can get some more wiggle room if you will, to work some pieces over. You could go a little bit off to the side like that. Might actually work. See if we can create the most symmetrical looking piece that we can. And let's see also if we can try to do our best to create, It's even as best we can on all sides. It may be a little bit difficult, but just try to work out as best as you can make it. Once I hit the Q key and kind of look over here to the space kinda eyeball. And that's definitely thinner over here than here. So I'm just going to move it with rotating on the z-axis and bring that over. And right now that's all good enough for me. I'm going to turn on my cylinder Boolean that goes deep into this piece that we had from the last one. And of course we're going to scale that little piece down. Oh, sorry, that was the sphere. Gotta click on it first. There we go. And it's not really the biggest deal. The cylinder Boolean piece, it's sorted just there to create a little bit of a gap there. So now that we have that positioned roughly where we would like it, Let's go ahead now and try to turn off some areas. I really only need this piece right here to work with. And for, with that in mind, I'm going to click on the sub tool that has my base mask on there. And now we're going to create some poly groups using the mask tool. Now, first things first, as we know, holding Control out and can create ourselves a little bit of a mask. So I'd like to hold down control, change my strokes tab to the circle and see if I can create nice little thin barrier here between where the Boolean touches into the face plate, which is the small thin area of safe zone. That would help the piece a little bit. And like I say, that's probably what you're wanting to look for right along the lines of noticed, I did divide the geometry a little bit for the sake of some resolution, you're welcome to do so to. Again, as I say, please be advised you are in Live Boolean mode if your frame rate is getting too choppy, go ahead and just do a Boolean mesh of everything so that you can minimize that, that prime rate is as a result of Live Boolean being enabled. So I'm going to go and work with that. And I'm going to go to the backside here and I seem to Also created something so control and left option. I'm gonna kinda clear that away. And now I'm just going to create a little bit of a poly group out of that piece right there. Or this part of now about to do right here. This was a result of enabling that wasn't very happy about. This was all stuff from previous little bit of a previous era. There we go. Now. Now that we have all of that taken care of, Let's go ahead and make a surrounding little piece that we're going to use to extract out just sort of like a layer that goes around here. And for that, we'll start with this as a pattern. I'm going to draw out my circle. And I'm going to, to my best of my ability, I don't care about what's going on in the upper right-hand side. Just trying to get a fairly even on all sides mask going on right here. Okay? Now that we have what we want, Let's hold down control and go to your strokes menu. And let's go to the drag rectangle again. And from there, let's go ahead and take out the first three quarters, maybe little bit moreover, taken about control and left option to just minus a way that amount. Right? And keep in mind, I think I went into my mask, so we're going to probably want to clear that up right there. And in case anyone's knowing, because I made that into a poly group, I can isolate all that stuff by simply holding down Control and Shift and just going in there. So after we've done that, let's see, I got a little bit right here that I'm not like kinda crossing the barrier line 2. I don't wanna go too far into it. So I'm going to just clear some of that away with the clip curve by just sort of holding, just trying to create a little bit of a curve out of this and then holding the option key to clear a little mask there as you can. And then we're going to go ahead and do a little bubble area. I think I'm gonna go ahead and turn that into a mask as well just for safekeeping. And then I'm gonna go ahead and shift control and take that piece off. Looks like we had a little bit of just the small little tidbit. I'm hitting Command Z to go back here because it looks like I forgot to clear what I made back here. So again, just go ahead and just put a mask whether it's a marquee select or anything. Just so you can go ahead and delete the mask behind there. Now let's go ahead and turn that back into a poly group. So with that mind, I can just go ahead and mark here and make a mask over that will then control shift to bring that back. And now I'd like to go ahead and do a mesh extract. And a mesh extract is your I bumped it up just a little bit so that I could get a depth Around here. Use your own discretion of what you like. But I'm going to work with this and I'm simply going to hit Accept. And that gives me some new features right there. And now I have a mask I can work with on a new sub tool. And I'm just going to go ahead and clean a few pieces up. We'll start by going to deformation. We're going to then go to polish crisp edges under deformation, make sure the hollow circle is in place. And let's just clean up the sides here so we can kind of move on. There. I'm going to go ahead and work with a trim curve. And I'd like to do some modifications to this piece right here. Start getting some sharp edges, if you will. A whole bunch of ways we can do that. And so you can see, I want to thin this out actually right here, which is my own personal well modification here. That's just my own discretion and you don't have to do that yourself. I'm just going to do that because I think I'm going to make another piece go along here as well. Alright. Now that we have that piece all done and cleared out, we can go ahead and just leave it like that. We could, if we wanted to turn this into a Boolean piece. But I think that right now I like to keep this section as sort of a sort of like the surrounding barrier base. So I'm going to leave it alone for that time being. And that will include this second part of detailing around the eye. And if you stick with me, we'll go ahead and create that final third piece that will be surrounding even outside of the eye. So stay tuned. 13. Creating Eye Hole 3: Alright, so we're going to be doing this last part of finalizing around the eye. It's going to be a relatively simple one. It's just going to be a scenario where we take the piece that we have created and we are going to duplicate that piece now. So we have one on top of the other. And as a result, we're going to make these, one of these to a Boolean now. So I'm going to turn the bottom one into a Boolean piece. And then, as you can see, a completely occludes, the one that is on top. So let's go ahead and scale this up and out so that I can get a little bit of that Boolean piece back that is showing from the top one here you can kinda see. And as a result, I'm just going to go ahead and kinda show some pieces little bit more of a back. Now, from here, I'm going to go ahead and cut this Boolean, piece out a little bit. But before I do that, I'd like to see if I can go ahead and do some experimenting. I'd like to take the original Boolean piece that we had, the one that's on the very top. And once again, we're going to duplicate that piece again. Now, we should have two of the very same. Now why did we do that? Because we intend to have a Boolean piece of this kind on the outside, except we don't want the Boolean that's coming in and cutting into this max to affect that outside one, which means we're going to have to take this duplicated one and move it below the Boolean sculpted piece. That way it won't get affected. So it's right here, right now we've got to move it below here so it won't get affected by that. And therefore, there we are. Now, once again, I'm going to scale that one out. And I'll hopefully going to work a little bit with this right about there. I'm going to want to push that one in. Like to have that one actually be relatively shallow compared to this piece right here. Now, there's a whole bunch of ways we're going to be able to fix the the other Boolean piece that's coming out here. Let's go ahead now and go to the sub tool that is our Boolean sculptor. And let's start cutting that piece up. Now, let's clean it up and see if we can use the trim curve brush again. Make sure it's armed and looks like we got to your case. You're wondering why you're getting that piece. That's because it's the piece from the very top being shown. I like to go ahead and get a little bit more of it. So I'm gonna do a little bit more of a shallow cut. Oops. May have to work with. There we go. Kind of looks like it's appending now on there. And as a result, here, like I'm going diagonal cut and so I like to include just about everything so it doesn't get affected by my trim curve brush. There we go. You'd be something along the lines that I can loop with that maybe we'll do some interesting there. Now. Let's go to the bottom one here. And let's start cutting that one out. Oops. To home. That's okay though. You have the welcome you again. This is all utilizing true curve. Not happy about. Something. Can always call into it and fix it. Oh, I see. It was gone. There was some boy. Here we go. And that's going to be what gives us a little bit more of a smaller edge. Let's go back to here. And maybe just using the Move tool to simply took that in a little bit more. Yeah. And it's good enough. And that's going to be what gives us our little shape right here. As you can see, we didn't spend much time trying to get that shape flushed out. With Booleans. We just simply did a couple of duplicates and scales and cleaned it all up once again, curve brush. So aside from that, that will conclude this portion of the eye sculpting area. And we're going to be now moving into more of creating a mask that will go around a mask pattern, which we're going to extract around the face plate for us. So stick to stick and stay tuned. I should say. 14. Creating Mask Layer With Booleans: All right, Welcome back. In this tutorial, we're going to be creating, having a little fun and try to create a little bit of an interesting layering layer of mechanical holes that go over this face plate here. And we're going to be using, as you guessed, it live Booleans to do so. So it's going to be actually kind of fun to get us started here. Let's go ahead and try to, well, let's try to turn everything on your sub tool menu off in for me. That would be quite a few things actually. That would actually be a mess. So I'm going to go through here and I'm going to be turning every thing all the way on here. These are both Boolean sculptors as well as facial played sculptors. Everything that i, I'm using right now, I'm just going to turn off because I just want that cleared out of the way. And so only thing that should be left on now at this point is just the face plate. Go ahead and clear this mask by dragging off with a mask on the side. And I want to do this. I'd like to go ahead and hit Duplicate so that I have two pieces here. And then I'm probably going to go through, Let's see here. Let's see what the clip curve can give ME here. Hopefully nothing too terrible. Of course. We're going to go ahead now and we're just going to try to essentially carve a bunch of Booleans into Booleans as holes in all over this piece of mesh. It's relatively simple and shouldn't take too long or be too much of a time consumer, it'll be a little bit fun to start off with. I'm going to give myself a cube. And in that cube, I'm going to bring it up. So it's just below my visible face plate. And keep in mind that again, as I say, I have to face plates here. So make sure you've duplicated this twice. In fact, you should be saving between each lesson and doing a different save every single time. If I haven't mentioned that. So to begin, I have this piece right here. And I am going to go through, and I'm just going to divide this piece a few times. And then actually the til you get about a 126, and then I'm gonna go ahead and cut this piece up as we can see, till I get some nice sharp curves. So I'm using again trim curve on this. And so I get some nice and sharp here. Actually, I believe I was using clip curve on that book. I guess I won't hold it against me. And what I'll start off by doing is I'm going to duplicate this piece of few times, turn them all off. So I have one and then that one is going to act as my first cut in peace. Let's go ahead and make sure that in doing this, we're actually going, it's going to have to be relatively thick to go all the way through. So well, actually it doesn't have to be all the way through if I think about it because it's only going to be a centimeter. And so first thing we're gonna do on this piece is, is I scaled this down, I flattened it up a little bit. I'm going to rotate it now about 90 degrees. Again by holding Shift and just toggling on dizzy rotational axis. And just thinking to myself, I like where it's at, but I want to make sure it's centered as best as I can. And then maybe just go through that way. Now, let's see if we can do something about working with one of the deformers in the gizmo 3D. And for that, I'll go ahead and work with, Let's see. Then ARG and a coerce. Its geometry. Whenever working with any of the gizmo 3D deformers, again, we add a delete our lower res. I'm never a fan of that kind of working. It's always been a hassle. So now that we have bend arc as our circle, as our deformer, you'll notice what I did. I selected into the green cone right here and simply pulled down to give myself that arc. And now I'm going back to gizmo and selecting gizmo. I'm going to just hit Accept on this, but you can just do that if you want. Now, if I hit space bar, I get sort of like that Iron Man looking arc. As we can see. The course. If you really wanted to, you could have it going all the way through. If you needed to. We're not necessarily going to need that though. But that will be our first cut. Let's go into a, another Boolean sub tool piece that we can use. Now, I'm going to go ahead and play around with this one, which is going to once again repeat the whole procedure. But this time I'm going to scale this back and then sort of create myself a little bit about this. Don't forget to make that. And again, we're going to be making this into yet again another piece. But let's not just stop, start there. Let's still make more out of this piece. Let's go ahead and holding Control or Command, toggle on the translated while holding one of those two. So we can see, go ahead and duplicate the process. Let's see. And of course, because I can't really do this until you delete the delete the subdivisions. You can't really duplicate meshes within the same sub tool without deleting. So which I just did now. And now, let's see what we can get out of this piece again. And this is still all cutting into the same sub tool here. All right. Now we're just going to keep kinda going through this. In all this is going to be is just a matter of creating just constant sub tools throughout. You don't wanna go too far into areas in which the eye is clearly present, in which that being the case. I think I'm just for the sake of it, I'm going to highlight my meshes so that they don't go outside. Like as we can see right here. Maybe I should have probably done that before. So good thing though. At the very least, I can, Cana just eyeball some things. Here. For example, I will bring this guy down a little bit, scale him down. And then same with the vertical piece here, which apparently has the visibility turned off. We could just kinda Go through, and I think I'm just going to go all the way through those games here. So again, just keep going through this here. And I'm going to be making some more patterns on this. Now it seems sort of a little bit monotonous at first, but now depend on now come person you are. You can actually get some pretty a fairly decent patterns out of that. Once we go through the whole deal, we'll go ahead and try to give you a second to second iteration through. Hopefully. In trying to establish the base of this piece. For example, we want to keep reminding that when we do this, geometry, delete lower so that we can duplicate this. And then sort of a rinse and repeat. Now, duplicate this again. Rotate off maybe. Because I said this is all nothing but patterns. All of that is just simply making more and more patterns. So as you go through, we can make that look cool. So keep saying and reiterating over and over again. Once the geometry of the subdivisions are deleted, it's just a matter of hitting Control and toggling through while hitting Control or Command toggling through the translation so that you can duplicate the sub tool without having duplicate the peace that is within the sub tool, but not actually duplicating the sub tool itself. We can do a little bit more randomness there. All right, Let's go one more. I think it ran out of Booleans on here. And try to keep in mind again, this is my own pattern. You are not it's not absolutely required to mimic the exact pattern I have that I am doing right now. But if you want to do your own pattern, it is completely all right. This goes back into that whole mimicry versus concept is the most mentally important thing about this one. I want more than anything you take away is that you understand the concept of this and you have practice with this. Utilizing the, again, the quick keys throughout. So keep that in mind. And I'm probably using just about. This is an example of using, again the deformers to help me out in some of these areas. Only thing I never really liked about it was the fact that we had to deal with having to always, constantly delete subdivisions of the geometry in order to make all of this work. Definitely was a bit of a bummer. So, but I think I'll go ahead and survive. Again, just duplicating through the command and translate, not duplicating the sub tool itself. And editing the Boolean. Sculpt with again the clip. I guess I'm doing clip curve on this in case I keep or it gets missed. Why I'm always sort of this stickler between trim curve versus click curve. I've had some pretty crazy long boolean processes get done. Where the trim curve, it gets basically in this process of a long procedure. And it's because of the clip curve always mashes down and creates a whole bunch of non manifold geometry. And it's really kind of created this ugly, ugly, ugly mess that quite frankly, it took an hour to get a boolean from my computer. It was not very fun. It was rather little bit of a pain, to say the least. But I'll live In any event, I'll probably survive from this as long as I'm not creating too many of these pieces. Let's see. I could've sworn I had slum. There we go. Let's do one more piece and call it not going. It's not exactly oh, my original area, original model that I did but slander like that last final section. Oops, let's make sure that's divided rather smoothly. Not going to worry about the edges since those will never be seen. And I'm just going to simply push that over. I am going to put that right there. Now to say I'm really a big fan. I hope you guys are too, of this gizmo 3D. It's been sort of something that was long overdue with ZBrush. I don't think. I'm not really too sure as to why it took pixel logic so long to get this very needed and much needed feature. But I'm sure glad they did pull through with it. All right. So we'll go ahead and accept that. Just gonna go ahead and hit click Save on this one. And get scared for my life. Alright. Now, since I am now done with this piece, I'm going to go ahead and create a Boolean out of it. Making sure only the pieces I want r to be that Boolean. I'm going to turn off all the surrounding eyepieces that are there. And they were only there just to help me with reference. Nothing more. So having said that, we just go Here we go as we did before. Sub tool make Boolean mesh and which I just did. Fingers crossed that we get something fairly clean. Ux cannot be performed because some inputs are invalid. Well, that's what I get for working with the clip curve brush. Alright, this is a good opportunity actually to talk to you a little bit about problem-solving with Booleans. So for the next lesson, we're going to be doing ongoing to work with you on trying to get to a, this mesh driven out through fixing the errors that occur in problem-solving with light Booleans. 15. Adding 3 Dents Extra: Okay, and this is going to be a relatively short one right here. And in this tutorial, we're going to actually be working on creating little bit of very subtle side detail off to the side here. It's not going to be super complex or anything challenging. It's already quite a bit of what we've already come to know, what we've already come to learn so far, just applied in different points of view and shapes. So to start off, I'm going to get a, another sphere or cylinder, I'm sorry, cylinder in here. So we'll start with a poly 3D cylinder. And I'm just going to append that in there. And then I'm going to move this off to the side like so. And as I did before, I'm just going to cut it up using the trend curve rush. But also remembering are very nuisance seeing fact that when we divide something up, we gotta delete that geometry so we can use trim curve brush. And now let's have some fun. Now. Let's scale this down now. And just for the sake of getting things a little bit closer, I'm going to move this sub tool a little bit closer to the right below this mesh shit. No reason, just my own personal desire to get it there. And now I'm just going to move this in like so. This isn't really too complicated actually, it's quite, it's pretty simple really. What's going to happen now is simply going to be working on trying to get this Boolean piece to carve out to a very specific look that I want just to fill up some open space that's around here. So first things first I'm taking the cylinder, turn it into a sculptor. And then that's roughly what we're looking for, but with a little bit too deep. So we could try to make an effort to make this a little bit more shallow. Like so. And as such, this is one of those things, as I say before, that it's not an exact science. You gotta just eyeball it, move it around until you find a position in which you like. So try not to be mimicking too hard on this. So keep that in mind. You just got to play around with the gizmo on this and get this into a position that you want. I'm not going to duplicate sub tool and I have deleted my geometry, so I'm holding Shift F. And just so you can see now I'm holding down Control and working with the Translate and duplicating that piece. And I'm going to make it a little bit smaller and more invisible. And I'm pushing it further in. Like, so. My goal is to have three of these pieces. So I'm going to have three. And of course, when you duplicate this, this piece gets masked to n. If that piece is masked in this pieces and that means I can invert it. So holding down Control, I'm just clicking off to the side, dragging. And I have inverted the mask pivot points still a little bit, the sign button, That's okay. I just want to move this up a little round personal Nagel. And once again, I am going to duplicate this piece for a third time, moving it over. And now I'm just simply going to once again repeat the whole thing. And I'll just angle this one up a little bit more and then push it in. Not rotated in both. Push it in. And there we go. And using the corner arrows from this perspective, I can move at any axis I want. And we're kinda given a little piece like that. So having said that, I'll clear the mask off, maybe even center the pivot point this time. And now. I like that look. One last thing I want to do, we want to sort of create a little bit of a smooth transition between these here. So I'm going to work with my clip curve on this, which not clip curve, I'm sorry, trim curve. And just see if I can get something that's hopefully a little bit more cleaner looking place right there. And, you know, it's, it's easy to say maybe you want it that way, maybe you want it to look like that. It's all up to you on how you want it to look. It's your piece. So having said that, I'm duplicating that mesh now. And then I'm just simply going to hit deformation. And if you haven't guessed it, I'm mirroring it right over and I'm turning that piece now into its own little boolean for me to use. Even going to combine these two Boolean pieces just so I can have less to deal with. There we go. And that just kinda as one little piece that we left out that just wanted to take care of here. And with that sudden done, we have a little bit more detail added to the sides. 16. Applying Customized Boolean: Okay, and welcome back. This is a next lesson here is going to be coming towards the end what we're doing here. And in this part of the lesson, we're going to be applying a customized Boolean to our face plate. Specifically the under area gaps here are going to receive a customized Boolean detailing look here. To get started, we're going to actually be working on a pre-made Boolean that I already created. However, if you're looking to create your own customized Boolean, there is actually a tutorial that I created that is for free. It is available for you for free here on Udemy. And it has both the customized Boolean along with one other details how to create your own customized Boolean. Again, these resources are for you to use, so you can use them anyway, you want commercial or personal use. So feel free to use them by all means. So as I say, this Boolean that you're going to be downloading should be located in the resource file of ZBrush when you In enroll into this course. So keep that in mind. I've already imported the OBJ file of the customized Boolean I made right here. And I just simply imported it in from a different tool. Make sure you're not on this one when you're going in. And all I'm doing now is merely hitting the append tool. And we, our Boolean piece. Now, since it's on the very last sub tool, I will say this, we want this Boolean that you see here. We want it to affect only the under areas of this mask. And as you know, this mask is compiled of two face plates. There's I'm going to turn both face plates off so you can see there is the main face plate, which is this piece. And then there's the overlain face put played, which is this piece right here. So what we want is this Boolean piece here to affect only the areas of the underlain, the main base plate area, which means we don't want the overlain outer face plate to get affected. So what does that mean? That means the order in which these sub tools will have a lot of meaning at this point. So to do that, I'm going to go ahead and I'm going to take my Boolean piece and I'm just going to move it all the way up. As you can see, I'm just clicking on the tab. And I just want to write underneath of the two face plates. And so if this is the main piece right here, then I want to take this overlain face plate in. I want to move that below the MOOC, be customized Boolean. That way when I apply it on there, it won't be affected because anything underneath the customized Boolean or any piece of a Boolean sculpture that you want will not get affected as long as the order of the sub tool goes below it. So going back into this, I'm going to duplicate this just a couple of times. Turn off the visibility, and then go into the first Boolean. And I'm going to move this in. Now, I could use matchmaker if I wanted to. I could actually just work with matchmaker and I may do that, but it all depends on how big and how small or how flat everything is. I may not be absolutely necessary in this particular set of circumstances. It may just be able to get away with something simple like this. So let's go ahead and just turn this piece right here into a Boolean piece. And then let's just move it in. And trying our best, we gotta just get it to flatten up a little bit against those. The face plate like so may need to just kinda work with it a little bit. If you're having too much of a difficult time trying to get all the surface area of conformed. Remember you can always just hit the B key and go to your matchmaker brush to make the whole shape conform. I'm going to try to just work with it a little bit more. I'm actually going to try and see if I can. Amount of it before having a work that process. A wanted the opportunity to show matchmaker applications through ZBrush is cybernetic eyes. So I'm, I'm kinda whole map on that LAN. So try to get the most flat surface area that you can. And as you can see, that's sort of what you're trying to go for. You're just trying to get a little bit of a of a piece of green building technology underneath here. Now, you can just simply hold Control and just duplicate your process over if you want. And repeat the whole thing over again. And the idea here is just to get some work in here, just to detail something out. And it means moving around in the the gizmo 3D manipulator. It means working with the gizmo 3D manipulator. By now, you probably have a little bit of time and in on it. So I'm not too concerned about how everything's looking at this point. I'm really not. I'm just sort of working and through just getting something underneath, I'm going to clean it up later. So I'm holding Control and just simply moving this across to duplicate the Mesh, not duplicating the sub tool. Just keep that in mind. Just so I can break it up so it doesn't look completely out of sight here. And again, that's pretty much what we're doing. We're just trying to go through this. And we're just trying to put a bunch of little small, fine detail in all of this. Now, I'm going to show you what we're gonna do afterwards. After you've made all your detail, we're going to clean these pieces off. Maybe I just only wanted to focus on this. We're going to go ahead and also try to bring in this one more time. I'm going to duplicate the mesh out. And just try to get something underneath here a little bit. Which means I'm going to pull some of this out slightly more row to a lot on it. And as you can see, we're already establishing some sort of underlay sense of technology underneath the nuts. That's kinda what the goal is. Just simply trying to create technology of some kind underneath all of this. But I don't want this stuff up here affected. I'm just going to use separate, different piece. So what I'm gonna do now is I'm going to hold Control shift and change things around. I'm going to go to my trim curve while holding Control shift, of course, so I can select it. I'm going to also put on my Shift F to term wire mode on so I can turn things on and see what they look like. Now, by holding Control Shift, I just kinda went through and kinda just put a little bit of technology underneath here. So the idea is to take this principle concept and then apply it across all of these underlying parts, just as you see here. So we're gonna go through, go ahead and I'm gonna go ahead and just put some stuff in through there. You guys do the same. And we'll meet up on the next tutorial. 17. Problem Solving Boolean Operations: Alright, welcome back. This is going to be a tutorial on problem-solving with live booleans. So to start off, as you can see, we had a problem where the error came through that it could not make a Boolean operation. So this gives us an opportunity to do a little problem-solving and what to do if Booleans actually do not come through. So to start off with, we're going to want to go to Render and dock it over on the upper, a left-hand side, so it comes up. And then we're going to want to go to Render Booleans and make sure the light Booleans turned on. And we'll start with co-planar. Now, before we begin, when you get a failed Boolean operation process, what will happen is that it will create the Boolean in a different tool in all the Booleans that were used to sculpt all the way through. Now, this top piece will always be the piece that you're trying to generate as a Boolean. What you want to do is start with that piece sub tool and under the Render tab, want to go through and hit first off, show co-planar. From there, we're going to have a bunch of red marks that indicate a bunch of sort of problem solving their problem child areas in which we can move show comb planers, usually the easiest thing to resolve as all it does is simply any issues that you may have can simply be eradicated through. Just simply shifting something over. As you can see, we're all are non manifold issues that we're having. All this excess. You see, you see that little lip right there. That is an example of why I say I don't like using the clip curve over the trim curve because the clip curve creates that little extra fold there that nobody really likes to deal with. And the trim curve literally slices the piece off and just puts a little bit of a poly group there with little bit of decimated geometry. And for creating Booleans that's a little bit more ideal. Let's see, is a little bit more of that lip right there. Not too much we can do about it. But let's just go through and make sure everything else is okay. Usually it's with the booleans themselves that are the issue. So if you have something, if the next sign turns on, then that means we got to, there is a sub tool that a Boolean is having trouble with. So we'll start with that. Oops, think the visibility turned off. So the first piece, it went down, It's skip this one and went right to this one as our first piece. That looks to be this piece right here. So when we center the pivot point on that, Let's see, I see the shaded area there. And really sure what it is. It's given me this kind of an unusual process. But again, I'm just going to go ahead and see what all of my pieces are that are giving me a little bit of a weird wonky now. That's probably one right there. And that would be because I was using clip curve. Let's fix that. When we did that, it looks like after using trim curve, we result quite a bit of the issues. Except for that one piece. One little bit of a fickle. It's going to solo and see where we're at an issue right there, that little piece right there. Well, let's see if we can cut that. Whoops. I don't want to deal with that. So I'm just going to hit mask. Then I'm going to invert the mask that way when I do a clip curve, I'm not going to affect anything over here as I, as he saw me just do. Let's see here. Here we go. It's a little bit more doable. So little. Wow. Now it doesn't look like I have anything on this show co-planar do it's probably only going to be issues with this area right here. Again, I can try to do trim curve but doesn't really handle meshes on this big of a scale. Usually, herb only handles something a little bit more thinner. Make the attempt in try, but maybe we'll get lucky on it. This is like another piece that's giving me a little bit of trouble. Isolate this out. Solo. My issues are at this manifold geometry. Whoops, to change my strokes here. And that's kinda where I'm taking my guess. Looking for is that very flat, flat geometry that gets created through the clip curve that bites was made. But you now, the other thing that we can do and this is not necessarily a requirement, honestly, I think I could get away with trying to do this again, but one thing that you can do if you still have issues in the show issues section. That's usually the area where non-man couple geometry gives he was strongest. Warning sign. Is this. You can go to geometry and then go to DynaMesh right here. Let's turn on Project. Give ourselves a little bit adequate resolution, making sure poly is turned off and you keep an eye on here when you do that, you just clicked on that. And that also helps to deal with any issues that may be a problem child for dealing with this. As you can see, show issues turned off and that was apparently what really led us a big warning sign to y. We had a hard time with creating and make Boolean. So I'm pretty sure if I go through this and see if we could find anything more here, you'd probably find some know Kim find anything. Oh, well, now let's see if we can try to make a Boolean out of this. And pretty sure we could probably get away with some here. Honestly, I think 3 million Pauli's could be a little too high if this well, the Boolean operation succeeded, there may have been some areas that we were reported during the process. I believe that's mainly because I didn't go through every sub tool and do a DynaMesh to eliminate any non manifold geometry. So that could be more than likely the biggest reason why we have that. Not a very big deal. So let's go ahead and go through this and go ahead and clean things up here. I'm going to turn this piece off and all the pieces that were a Boolean sculpting piece off because quite frankly, I don't need it anymore. The piece that I wanted is now been created. All I need to do now is just simply appended on here. Like so. And that's also what's show complainer. It looks like it's occupying precisely the same place. So to elaborate, now that we have that piece, Let's go ahead and move it up a little bit. Let's go ahead and turn on one of the sub-pieces right there. Now let's see if we can shrink that piece in a little bit. And that's the desired look that we're trying to get. So why are we trying to make it look like that? Simply put, we want to get this. I want to be able to sculpt pieces of mesh on here without affecting pieces of mesh on here, I'm going to be working custom Booleans inside all of these little green areas. And to have a little bit more fun with the detail that said and done, let's get back. We still haven't done any Booleans this piece itself. So let's go ahead and turn on all our fun Boolean pieces here that we use to sculpt out the I because I guess we could have done that as well. I probably showed up now that I think about it. But when time comes, I'll probably do that. And just go through these pieces one at a time. Take your time getting through all of them until you find. Right now I'm just a little bit of the sphere where our US Mr. sphere. Very well. So having said that, that's sort of where you want to be right now with your IPs. Nice little clean mesh right here. And of course you can always turn on the head piece as well and get back All the other side pieces that you wanted to do. And at this point, if you feel the need, you would like to go through and try and do some custom booleans operations on there. Feel free to, because now you kinda have an idea using Render Booleans to how to fix things, to review and cap. Again, when you have an issue with live Booleans, you go to the tool that it created, and then you click on that tool. You bring in the rendered tab, you show and turn on live Booleans. Make sure that song and you start with co-planar, and you start finding any flat spaces that may have been, first of all converted on clip curve. And you can clean that up using the trim curve by cutting off those super flat end marks that kinda create the geometry. You're having any trouble we use also, I'm sorry, this part right here to cycle through all your problem meshes after you're done with that, go through show issue, and then simply do a DynaMesh with project turned on and go through all your Boolean sculpted pieces, you with a DynaMesh pass turned on. So that said than done. Should be ready and going ready and set to move on to the next stage in sculpting this bust. Thank you. 18. Creating Tri Camera: Okay, let's get started. We are now on the last part of this section. It is going to be creating a few cameras to circulate around here. And for that to begin, I'm going to work with trying and create a camera peace. And to do that, I would like to go ahead and come up to the Tool section here. And I would like to just kinda be in a different area here. I don't want to be on this. I like to have my workspace cleared, so I'm not in this area right here. I'm kinda clicking off and clicking on a new tool set on sphere 3D. And I'd like to change that. I'm changing that to a cylinder 3D. Now of course, I gotta make this piece a poly mesh 3D before I can work, which I just did, we come up here to the upper right and just simply left-click on make poly mesh 3D under tool. And now I'm going to give it a couple of subdivisions. I'd say probably three or four. Now really two critical. Just as long as you're given some I'm going to work with clip curve. I'd like to trim this off. So Control Shift, get your clip curve brush selected. Now worried about too much about the man non manifold geometry in this particular case, usually flattens itself out pretty well. I'd like to just kinda get a little bit of a area that's nice, crisp and flat like so. Now we're going to go ahead and turn on the W key and to bring up our gizmo. And I would like to just stretch this out just a little bit because we're going to be using a few pieces here. And this is going to be where your hotkey fun comes in. I'm going to duplicate this tool once. And this new piece is actually going to become our Boolean sculpting piece. This piece right here. First off, I'm going to scale it in like so. And then I'm going to turn it into a, enable it into a Boolean sculpting piece by clicking to the right here. Now it is enabled and we're just going to kind of push in a little bit. That's probably, this is about the kinda maybe around there could be a better area. Now, having done that, I am now in this process of trying to look for a way to reuse the same piece over and over again. So before I can do that, I'd like to remind you that we're, we have multiple subdivisions even on this Boolean sculpting piece. So I got to delete those off because I wanted to do a Control select Duplicate process where I'm just holding Control, translating across, duplicating the mesh and just going in like so. And why am I doing that? Because if I duplicate the mesh, like I just did right here, I can scroll this out to be bigger. And then I can bring this out. And I can create sort of like a second little piece right here. And then even further, I can do that again. Duplicating the mesh and then making it even bigger. And that will give us yet again another cool little lip here. Now, having done all that, I'd like to go ahead and just do some simple mirror append will do just we're bringing in a sphere 3D. That's all we're doing. Nothing crazy on us. Sub tool visibility. Well, dividing at one simply does. To get a little bit of a smooth look, maybe just flattening and a little bit tucking it in as you can see. Now, the other relevance to this tutorial is, is that this gives you an opening opportunity to work with radial symmetry and insert meshes as well as live Booleans all in one. So that's going to be something that we touch even more on in the the ZBrush for, I'm sorry, the cybernetic guy that has the rush for RA. So to do that, we're going to first of all go into brush. We're going to hit our insert mesh primitives. Is right here. Actually, I like over here. And then you should have a menu come up here. It also comes up when you hit the M key. And that's where I'm going to select the cylinder. Extend. Cylinder extended, sorry. And from there, once you have that out, if you have to remember one thing we're drawing on this main cylinder. So we got to be on this sub tool, but that's not all. We also have to go through geometry and delete our divisions so we can draw something in like that. Finally, the last piece we're going to have to do is go through our transforms and activate the cemetery. And we're going to work with radial symmetry, something that's going to be common in the creating the cybernetic. I find after you activate radial symmetry, you can choose whatever you want. I'm going to stick with eight. But then we have to make sure we're on the right axis. Symmetry X, Y, or Z. If you're not sure, just look at it from where it goes, Make sure your locals also transformed. Looks like I'm off on this one. So, whoops. I did. This looks probably a very weird. That's because I didn't turn something off. And then it should have been that. Now we're on the right one. That's because I went up here, turned off x, turned on Y. And now combining this with this radial symmetry, we're going to draw in a cylinder, cylinder extended, insert mesh. I'm going to try to be as flat as I can when I do this. Let's try to do your best to get the best results you can add event after you get this part. This is where it's going to get a little bit fun for you. As you can see, we have our piece, we have it all drawn out. But now we got to separate this piece off of there because we want to turn all of these pieces here into Boolean sculpting pieces. So I'm just gonna do split and then split unmasked because these are the pieces that are unmasked. I want them underneath. And now we just go underneath here. And now I'm simply turning this into selecting the cylinder extended pieces that were drawn in and turning them into a, a Boolean sculpted mode. From there, you can kind of see what's going on here. You can manipulate these in any way you want. So if you scale these in, all of them gets scaled. Remember you can't do this without local cemetery turned on, so just keep that in mind. So I'm just going to go ahead and push these in a little bit. Now already we're getting something definable and hard surface. We could do this, we can do this. I kinda like this look, so let's go with that. And I'm going to work on just given a couple of divisions they're there. That's worth it for me. I don't need to take it any further than that, but I will go to the main cylinder and just for my own purposes, I'll turn off x symmetry by hitting the X key and then just holding down Control. And when a marquee select out here, and I'm just going to draw out a mask, and that is it. Now if you have some low resolution, I think I do too. I'm only at a 126. I'm going to probably just divide it one more time so I can get a little bit more so I can get a cleaner mask that looks better. And now all I'm doing here is I'm drawing the mask, drawing a strip out with Marquee Select and just drawing it through there. Finally, holding Control down, holding and then pressing left-click off to the side, inverted in this mask. And from there, I'm going to bring up my gizmo 3D manipulator. And now if I manipulate from here this point, it's not going to do too well. So I want to center the manipulator into, as it says right there, go to unmask center. Now if we just go through and do that, kinda add a little bit of a band lip that gives me more things to texture and my Substance Painter, fun. I'm just doing the same thing again. And except this time I'm just going inward, like so. And finally, the last phase that I'm doing here is since this is a piece that needs to be turned into a Boolean operation, we need to get a Boolean operation going for this main piece. We're going to turn off, you know what, we can keep them all on. I'm just gonna go ahead and just simply hit Boolean. Because I'm going to append it anyways, this one. Make sure that's true. On, shouldn't be running into too many issues of a Boolean operation for something than this simple. And it did give us exactly what we wanted, which is right here, our camera a little piece, and this little piece, this little nugget Here, we were going to go ahead and put onto our mask. And that's going to be through the append. And then finding your tool and just snapping it on. You may just not it may not look like it shows up more than likely it's inside somewhere. Or the the sub tool is simply turned off. I think it's more of the fact that, whoops, is going on there. I think I made an absolute error right there. I didn't get it in there. Yeah. There it is. Yeah. Ocean. So let's go ahead now. And let's scale this piece out and buy out. I really mean, in my intention here is to carry this mask or this little camera here. And I'm going to work with some settings here. And I'm going to holding control and toggling with the Translate, duplicate the match, and then translate it down. Like TO is go with a little bit of just a little bit of kind of variation in size. And once again, and I believe we'll go ahead and do some finalizing in this stroke mask here. Probably put a little bit of a Boolean piece that kinda holds in together, but we're going to do that later. But overall, that's how you create your little camera pieces there. We'll probably be working on a finalized phase for this face plate to hold in those little gaps. But if you're looking for any kind of quick trip or of any kind, just remember, you can always just simply duplicate the mesh and then turn all of these pieces into booleans themselves if you really, really wanted to. And course, keep in mind when you do that, it's going to conflict a little bit with these pieces. But those, that alone would carving your boolean sculpted piece. So keep that in mind. Probably going to work a little bit more on that. But this does conclude how we are detailing the front plate. The next step is going to be the cybernetic. I were going to work a lot more with the radial symmetry, insert, insert mesh, and Live Boolean to get similar shapes like this. And we'll see you on the next sec, next lesson. Thank you. 19. Blocking Out Sphere Eye Part 1: Okay, and welcome back. We are now in the section here where we're going to be creating a cybernetic I, anyone's unsure what that's in reference to on this helmet? It is. This piece right here, along with the tubule that goes inside it. We're going to be working on that as our next piece. And we're for this piece, I'm actually starting a new file. So if you want to work in the same one, that's your prerogative, I'm keeping all my files separate and with low mesh so that way I don't have to fight with the confusion of all the other sub tools. It's your prerogative If you wish to use so, but let's go ahead and get started. First off, I'm going to come up to here where my tools are and I'm just going to click on the sphere 3D. And I'm just going to go on ahead and draw this in. Like So. Hit the T key so I can go into my initialized phase. I forget, I want to also have my basic material there. And now that we're in our initial is initialized phase, I don't really feel any need to change out. I need topology, so I'll go straight into my make poly mesh 3D. And now we can start having some fun here to start off with ongoing, to give this sphere few divisions, subdivision levels by hitting Control D. Or if you're on Mac Command D, It's probably going to be good enough. What I'd like to do for a beginner part is ongoing to draw out a strip of a mask like so I'm just going to basically hold down Control. Marquee, select a piece like 0, 0 tensor purposes might be something that suits my needs. And now that we have this strip, I'd like to turn this little part right here into a poly group. If you, and if you remember the quick key on that, it is going to be either control WU if you are on a PC, or Command W If you are on a Mac app, depending on, just for the sake of me liking to keep things clean. I'm thinking that what I would like to do now is I'm going to go ahead and I think I'd like to go ahead and turn these poly groups into actual actually, I don't think it's necessary for this case, but we'll be doing it in later cases. But just for the sake of keeping things clean and showing you how this works, I'm going to go ahead and go to geometry. And then under Modify Topology, I'd like to create some group loops here. Because what I wanna do here is create the setting stage for doing it Panel loop operation. So first off, under Geometry tab, Let's go find our edge loop here. And we want of all the different ways we can keep create loops around geometry. I want to choose the group loop tab, which will give me basically an edge flow around these group loops here. And you can assign as many as you want. I'm just going to keep it around maybe two or three. And I'm just going to go ahead and hit Group loops. And of course, for this you need to go ahead and take off your geometry, delete the lower setting, try that one more time. And gamma, gamma. Here we go. Beautiful. Now we go ahead and hold down control and shift. And then click on the center of the poly group there. You can kinda see a very clean little piece of mesh right here. And with that, I'd like to actually do a panel loop operation, which we haven't done yet. The panel loop is sort of like a cleaner, more procedural way of an extraction. It's, it's an interesting little beast of its own. It has a lot of options down below it. Double meaning that there is a, it makes the entire extraction a closed as mesh. But the biggest difference between an extraction and a panel loop would probably be that it stays all on the same sub tool. So I'm going to go ahead. I don't really need it. I'm just going to take off a double here. And then I'm just going to just see what I have to work with here. Let's just hit panel loops and see what kind of operation we have. I feel like I could use a little bit more extraction. So VB just go with a little bit more height, uniqueness. And to adjust the thickness, we, that's how we make it higher. And all intensive purposes that actually meets our needs. Now that we have that, let's go ahead and do one more piece of procedure. And that is create another mask strip. So I'm going to hold down control, drag a marquee select once again, I'm going to do it between where the little elevation cuts off and where the sphere itself meets right through there. And I'm going to turn that whole section right there into a group loop. Again, hitting either Control W or Command W. Shape it a little bit more. Take a little bit off. Now that whole area alone is its own unique piece. I'd like to go ahead and clean this up because ongoing going to be shrinking this whole piece. And the first thing I'm gonna do when I clean this little piece up is I'm going to do what we've done before with extract meshes. When cleaning up our Boolean pieces, we're going to go through the deformation. And I'm going to go with the Polish by groups as my choice. I don't really care about the edges, so I'm not going with Polish crisp edges or anything like that. I want to really flattened this all out here, see what I can get. And you do it a few times, we can get an a desired result. I'm just going to keep going until I can get that all flattened out through there. Like so. Here we go. That will work for me. Now that that's been taken care of, I'm going to go ahead and put i I'm not going to go back into bring everything back. I still would like to turn this into its own set of group loops for a different reason. So by doing that, I'm going to once again hit Group loops on this piece here, and I get a new operation. Now, having done that, I'm going to just make sure everything here is sort of released. Because what I want to do now is create a situation where everything here is in a mask. Then I'm going to shrink this piece underneath. So to do that, we're going to sort of go in and get our Bool or little gizmo piece centered to the unmasked area as an act normally does. And just basically toggle in here. As you can see, we have a very smooth look about this all because of the fact that we have so many group loops applied. So that actually works to our advantage. And see, Let's see where I'd like to put this. Probably right there. Now I'm going to clear out the mask. Hit Shift. I want to kinda look at what I got here. And upon eyeballing all this now what I would like to do is I kinda want to look at this piece right here, this top piece. And I think I'd like to actually elevate this up a little bit more. So I'm going to hold mark key or Control and do a marquee selection of just this strip here, area and mask that out. And then now I'm going to go through a mask entire section out here. See, now all I have is this piece. Let's go ahead now and invert that selection by holding down Control and tapping off of the side. Like so. Now that there's a mask in this area, I'm in an ideal situation where I can just turn this all into a poly group of its own. And that is again, Control or Command W. Now, brief little pause on here. If this appears to be going too fast or will pick it up a little bit more speed. Again, I strongly recommend that you pause, rewind, pause rewind. Until you're at a point where you are using the quick hot keys at the same pace I'm doing. It's very important that the muscle memory and practices getting in as you follow along. As I always go, it's really, really, really important when being a ZBrush artist that the hotkeys are nailed down, particularly in the selections and creating poly groups, masks, etc. So moving on. Just if it moves too fast, Just don't worry, pace yourself, pause, rewind until it begins to make sense. So I'm going to go ahead and take this newly-created poly group and I'm going to hold down Control, Shift, isolate it. So I'm in a position now to do a marquee selection on it, then bring everything back by holding Control Shift and Tab. Tab, I'm sorry, not tab. And that will give me a full selection here. Now since this is a piece I want to move around, which it just makes it easier to get this piece mask than trying to get underneath here I'm going to invert my mask selection. And now I'm just going to without me. So you can see we have a very smooth piece because we've been doing so many group loops and panel loops here. I'd like to kind of scale this down. This is my personal artist's discretion. You don't have to do this at all. This is just me being me. See, we can That's close enough. All right. I like how that's looking at will probably put it like right around there and move on. And actually, let's see. Actually I kinda like the loop that goes out Judd cell. Like it's actually an interesting look. Let's go ahead and do it like right around there. All right. And that is how we'll take care of all of that. Now, we're going to do one last thing. And this is a very simple process. What we're doing, it's simply applying what we've already covered here. It's simply a matter of doing and control mark key selections in random places here. Like so, just go crazy. Just holding Control down, doing all sorts of patterns, maybe going to the side, and doing minus patterns as well. You're welcome to do that. Maybe two will do things for the vote. All this is is just a simple combination of extractions and I'm sorry, creating masks and then holding control and left option to do minus mass, like I just did right there. It's pretty easy. It takes very little time. It's not hard at all. Unless you or me. As you can see, we got all these randomized areas of the mask at which we're at. I don't like what would you do? Of course. Me. Take that. Alright, so now that we got all of those pieces, Let's turn this all again into poly groups and practice on all of this is again doing a poly group into a group loop, into a panel loop procedure. Now again, as you see, we did hit Control or Command W, which took to all our mask pieces and turn them into a piece of poly group pieces. Don't forget if you go to the right side where it says poly group, you can find those features by hitting the group masked right here. So how that we've done that, let's go ahead and isolate, select this and very new created peace, and repeat once again our process going through geometry and finding our modify geometry. Where are you? Right there. And then we're going to do a group loop here. And if you wish, I'm clear in the mask off and keeping them. If you wish, you can do panel loops or I think honestly, you could even just do just an extract in any event, if you want to just scale them out. You can also do that. That's pretty easy. I'm going to say for the sake of doing something different from here and give me a different approach and just going to scale these out. So to do that, I'm holding Control and Shift and tapping to isolate select again. And then I want to mask all this out, bring everything back by holding Control shift going off to the side and tapping. Now that I have my mask, I'm inverting the selection by holding Control and then tap. And then I'm finally just hitting the R button. And I have to remember the center pivot point is over here because of that shrink I did. So let's bring it back over here. So I'm just going to hit the go to unmasked mesh center. And now let's just bring it out. Not too far, too crazy. Just in fact, try to do your best to keep it kind of like that. And that can be an example of how you do your cybernetic. I now went through that one a little bit quick. So take your time if you haven't a, another pattern of your own or spend a little bit longer time creating the mask pattern. Please feel free. Go back and create the crazy pattern here. But remember the most important thing when I'm holding Shift F to bring up wireframe. All of these have to be in their own poly group. And that's very important because we're going to be doing isolates, selections, specific areas underneath where we're going to want to do a custom Boolean in this area while not affecting this area. So it's going to be a little bit fun once you get through to that point. But that will include the first part of doing the blackout mesh in creating the eye. 20. Blocking Out Sphere Eye Part 2: All right, Welcome back. We're going to be doing a little bit of an interesting approach in how we create our Booleans. In this first part of detailing out a mechanical eye. First off, we're giving you an idea. We're going to be working with radial symmetry and insert brushes to carve out our Live Boolean sculpting meshes into this I. So it's going to be pretty fun. Again. The ideas on which we could take this are pretty far once you get through this tutorial. So definitely one to have, pay attention on this one because it's certainly is most certainly a very fun one to be doing. So. Having said that, let's go ahead and get started here. The first thing that I would like to go ahead and do is try to go up to where it says Transform. And I'm just going to dock it over here. And under this transform we wanna go and activate or symmetry. Of course, as it says right there, we can hit the X key to activate symmetry. Now if I just go through this, so I'm probably going to just have only two points, but that's not good enough for me for all intensive purposes what we want to do. So before I show you what to do, make sure local symmetry is checked on sort of like my safety net. I want to make sure I always have that because sometimes I haven't all putting mesh, local symmetry helps fix that. But anyways, radial symmetry is what we're going to want to check on in this particular case. If we toggle that on, you'll notice though it's not exactly what we want. The orientation is where we want it to be at. So again, we're going to go back here and change its orientation. And low Z wasn't the correct one here. And I'm going to turn off all of these and makes sure why is selected. Make sure you don't have it like this. Always make sure one pieces in play. But then again, you never know you might be able to carve some mouth. That's pretty interesting. So now that we have all our radial symmetry setup, I'm going to go with the radial counts stain at eight. I'm just gonna hit that be key to bring up my brush pallet here. And I'd like to look into the insert mesh primitives. And now that, that's all I got, I want to go right to the very far left here and get my insert cube. And once that is toggled, you'll notice we already get it to get what we're looking for. Probably going to rearrange this to be out here. And I'm just going to do a couple of tries on this. Bottom line is on one to get this to look as flat across on the top as I can. I don't really care about the size and which i'm I'm adjusting as long as you're not touching the gizmo and making the gizmo go center, then if you do it right, you should be able to control all of these through the gizmo. And that's just the matter of just while keeping symmetry radial on just hitting a WAR key and maintaining that you never, ever checked the center mesh on there. Because we want to adjust all of these at the same point. So I'm just gonna go ahead and use the local manipulators here. The scale manipulator maybe just flatten this out or work with the scale x here, the red scaled who that is and just kinda get everything how I want. Because what we're going to be doing with this is this is going to act and serve as our Boolean sculptor. These squares that you see here. So just going to turn what I want. But looking at it now, we still have to make sure to get this piece separated off of there because as you can see it, one sub tool. So to get that off, fortunately, when you do insert meshes, they create a unmasked area for you and the rest is masked, which is ideal for taking it off and creating its own little sub tool. And to do that, we go under the split menu under sub tool. And then we look for that. And then we go to the split unmasked points. And that will give all these cubes here their own little piece. Now, now that it's on its own sub tool, we can manipulate this into a Boolean sculpting. First I'm going to enable my Live Boolean mode up here on the upper left. And then I'm going to turn it on right there. So now, like I said, there's no science here. If you can carve a cooler shape than I do, go ahead. I'm just going to make my own little shape here. So feel free to, if you want, pause the video. Maybe there's something cool that you want or maybe there's some cool you want to see that you want to flush out. Don't hold back. Just have fun with it. Make sure when doing this that you are at a hearing to keeping symmetry on so that you can manipulate all the pieces in single Gizmo. So when I'm scaling this, upscaling everything else around here, which means no, Never center pivot pointing us. And let's see here. Remember this is not doesn't have to look exact. You don't have to get exactly what I'm trying to do here. Just have to get it as close as possible that you can. Well. Or so I say learn concept now mimicry. Like that shape a little bit. Interesting shoot. Maybe going in deeper, like kinda like that. I'm wanna make sure that it doesn't exceed past this lip here for me, I'm not because I got plans on what I'm gonna do there. And yeah, I'm hidden shift up and I can kinda still see my Boolean and sculptors at work right there. And that's kind of a cool thing, you know, when you combine radial symmetry and the gizmo together like that, how you can make a cool shape like that through the librarian feature. So moving on, now, I'd like to do something else instead of the same concept. I'd like to create a insert cylinder instead. So now I'm going back up here to Insert cylinder if this doesn't come up for you, remember, when you're working with insert primitives, you can just hit the M key. And that too will bring help bring up the keys that you want. So I'm just going to do my best to try to whoops, I'm sorry, I apologize. On working in the Boolean sub tool. I'm going to go back up to the, the sub tool here so I can see what I'm doing. And as close as I can, I'm just going to simply move this piece. You can create a new piece right there. And like before, I'm just going to go through and because everything's masked, I'm just going to go split unmasked. Now. As a split unmasked piece, you're probably thinking, well, this is probably going to be used for as another Boolean. No, actually it's not. Let me show you what's going to happen here. I'm just going to toggle on hitting the W key, bringing back my gizmo. Everything's pit. And because this sub tool is above the Boolean sculpted piece, that means that it will get affected by the cubes of the Boolean piece. Here, if it was underneath the sub tool, it would not be affected. So that's kinda what I'm trying to do here. I'm trying to create sort of like a little piece of that is going to be, as you can see, I'm having a little bit of an issue. I will I don't like that two right there. So I'm going to go back to my boolean here, and I'm going to shrink it down so that my my Boolean can be readjusted to be underneath the cylinders here. It's still jutting out there, so I gotta just going to scale it further down. Maybe give it a little bit more wiggle room. Battery edges. Make it look like I like opening here. So, you know, because I wanted to go all the way through. So wanted to come out on the other side of the cylinder here. Like so. Now, that's good enough for me. Bring it over. Our city here and see if I can make it a little wider. Any consequence that yields from that. Here we go. Again, this is me just playing around with it to seeing what I can get out of this. All right. With that, feel like you have to get it exactly like how I have it if you want to make something cooler out of it. So long as you can get the grade. Basic idea here because, you know, in all these places here the, um, kind of wanting to create some wires here and I want to thread them through here. And I'm going to show you how to do that here. But first, like to just make sure I have this basic concept here, right? Going back onto my cylinder piece right here. I'm just going to divide that out a couple of times. I'll do too much and should do it for me on that piece. Let's see. And for one final piece section here, this is just sort of a finesse. And that is, I'm going to go through and I'm going to create a, a final insert radial mesh of this insert cube on all these in-between areas just to sort of create like a little bevel. And to do that, I gotta get back onto my sphere. And then as best I can try to bring some clean spheres in. And just repeat the whole process. Try to get as flat as you can, as even as you can. And again, split from the mesh with split unmasked. And then returning this piece into a Boolean piece. It's Shift F. If you need to. Just adding a little bit more detail. It's a little lopsided in uneven. Let me see if I can do something about that. There we go. Now that would've been very difficult to fix without the gizmo tool. Bring it out. Just a little bit of this perfection. All right, so that concludes our radial symmetry and insert mesh technique to use as booleans. Already in a short amount of time, we've carved out a good base mesh, enhancing and further enhancing the base mesh basics. So stay tuned for the next podcasts that will continue on with Thank you. 21. Detailing Eye: All right, welcome back. Here we are in we're going to be continuing in detailing our eye. The first thing we're gonna do is we're going to create another new little simple, basic Boolean sculptor piece here. And for that I'm going to come up here to sphere 3D. And under that, I'm going to just start with ring 3D. So we have ourselves a little bit of a ring not going to go ahead and turn this into a poly mesh. Just yet. I'd like to first bring this in and just kinda work on the initialized phase to see where I'd like to take this. Let's start off with a radius of 22. And I'm kinda happy word is right there. Let's see. The divide can probably be around five. And let's see the L divide. I'm going to set to 220. And well, let's see how the twist can be anything you want the twists to be. I'm probably thinking Yeah, that could be where I would like to go. No. I don't want to divide that. See here. Maybe just work around with a twist. Ideally, like to get a cut center right in the middle there. Yeah, I think that can only need to just kinda making sure that everything here is where I'd like it to be. Sort of. Yeah, I think I'm going to take the L divide and just max it out at 256 here. And then I'm going to just turn this into a make poly mesh 3D. And for all intensive purposes, I'm just going to kind of flatten and square that down. So once you have your mesh here, let's just go ahead and go back to our main area here and do an append on, on it. Just find your mesh and just go on ahead and do the append of the ring you just created. So go down to sub tool append and look for it. Kinda stuck in the sphere here. So you did it right, you should have it right there. And what we're going to want to do now is turn this into a Boolean sculptor. And that's just simple enough. But since we already have Live Boolean turned on. And now what I'd like to do is I'd like to position this right above the cylinder meshes here. Probably do a little bit too. So to get ourselves a cool little pattern there. And I kinda like, so that's kinda what the positioning is right there. I, you will notice that I took the piece and I flattened it a bit by squishing down the scale Y-axis. That just mean manipulating around with the Boolean. But now that we have that piece, Let's go ahead and holding command or control if you want. Hold Control down and put shipped up on turn wireframe on to show you what I'm doing, holding Control down, toggling the trends laid across so we can get a second Boolean sculptor here. And let's see if we can make use of that one here. Don't worry, the southern ones masks, so it's not going to be moving anywhere soon for you. And let's see if we can do something with this piece here. Maybe we can sculpt something or make something interesting. I'm now making it keep in mind. I'm trying to now make this a little bit thicker than the slanted piece here. So I can look for a little bit of a more of an interesting piece. Now all I'm doing is kind of pushing that piece in a little bit. Have been, again, we don't really know what these guys are going to look like until we actually mess around with them. But already I'm getting, as you can see, a little cool piece right there. And if you do a read topologies and you can make some cool effects or a miss of effects in this little strip right here. But you know what, I don't think I'm done yet. So what I'd like to do is maybe just do one more piece as we can do it like we did before, holding down Control and toggling on the translate across translate y. And just kinda duplicate and more keeping everything in the same sub tool by duplicating it this way instead of going through the sub tool here and duplicating it the other way. And let's see if we can carve up some pieces right here. Let's see if we can get something going on here. So you can see I scaled that Boolean piece out a bit more so that the little cup piece came, come in. And I'm going to bring it in a little bit. I'm just scaling everything down and then I'm going to move it out so I can narrow that up. And then like to be able to do something with that outer ridge area. So one more time, duplicating by holding down Control, going to spread this out. And this time I'm going to just totally flatten this out. Not too, not all the way, but just extensively. See what we can do and experiment. Maybe I could just work with what I got here. So to finish out, we're going to do one last thing here. If you have your piece, Let's go back up to the main area right here. And let's click on our eye. And if you recall, we got a little bit of a poly group here, which is a good thing because that means we can isolate this guy right here. We can then I'm going to turn off my Boolean sculpture, so I can just have this all here. Now that we have this piece, Let's just go ahead and do a mask strip right here. Sorry. See what that looks like. All right, now let's just invert the strip. And now if we bring everything back by holding down Control Shift, going through again, bringing all the things that I want back. I'd like to get it right around there. I want to get a mask area which I'd like to effect right there. So I have to start over again just to get it just right. All do that. Oh, it's got to be just right. Yeah. Maybe just a little bit of a connection here. If you can get a mask and make it look like that, now would be perfect because then we'll just invert the selection by holding down control and left-click and then turning off cemetery and tapping the W key. And then getting that gizmo centered, Let's just scale this in. And then it looks like the rotation. So a little bit off here. So let's just go ahead and click on the lock box, click on Reset rotation, then click back. And let's bring this guy back as we can see right there. And that would work. Excellent because I'd like to do that. Because what now I'd like to do is unlike to make something interesting here, a very interesting pattern. And so the final piece of this detailing on the eye here, Let's go back to transform up here. And let's go to activate cemetery. Make sure radial the r is selected and just why? Because we want to be inserting meshes here. And let's go through transform and then go and double the radius count this time all the way to 16. Now let's go and hit the B key. And then let's go on ahead and find our insert primitive meshes. Find our insert cube. Let's see if we can draw something right along here. And see if about trying to split that off of the sphere itself, same way you did in the last one. And we do that by hitting a split unmasked tool going in here. And in case you haven't guessed it, we're doing the same thing we did before. We're just going to be adjusting this. And then finally turning this into a Boolean in which we will be pushing in like so. And of course you can work if anything, any approach that you want. I'm just going to keep it like that. There's really no need to go any further in that. It kinda got the look in which happy with but in any event, this is going to be the conclusion of Part 1 in detailing out the mechanical eye. As you can see, we will once again flushed out quite a bit of interesting shapes in a small amount of time using radial symmetry. Just customizing a Boolean, sculpting peace through initialize, very simple, basic one actually, and reusing it in different varying degrees scale through the gizmo 3D tool. And so in the next tutorial, we're going to be working on expanding on this as well as working with customize Booleans that we'll be bringing into our project. So stay tuned. 22. Creating Eye Connector Part 1: Alright, and welcome back. We are now going to be working on the next phase of detailing the eye. And that's going to be to create a little connector piece, a little tubular cybernetic connector between the I and the cybernetic helmet. For that, we're going to be using a combination of live Booleans with a ray meshes this time around. Once again, a new way in which we're going to be flushing out some hard surface shapes and very interesting pieces. This is also going to be probably the scariest place because using either array mash or nano mesh can really be an easy place to have crashes in ZBrush. So I'm going to caution you on this one in, before we begin, I'm going to tell you some of the common places that triggers happen. And one such places if you like to switch between sub tools holding the left, option, left, all as you can see right there, I just did it in ZBrush, sort of quit out on me as you can see. So that's going to be a common trigger place in which problems can occur for you. Now, having said that, the best way to get around that is probably to play things as safe as possible. And that would be to manually go to the right side of ZBrush and do a basically switching sub tools manually over here. So having said that, just going to read, bring it, bring up my file once again. And now I'm just going to go through, and fortunately I already have my quick save and place. So I'm just going to bring it right back there and re-enable my Booleans to bring everything back. And this time around, I'm also going to say another place that's a common trigger is when you have a ray meshes put into play that they are going to actually trigger a crash a year putting at risk every single time you hit the quick save, that also can create a crash. Like I say, this all happens commonly on array and nano mesh. So I'm going to try to be as quick as possible getting through this turbulent area. But bear in mind, it does have a light at the end of the tunnel, and that tunnel usually means where you make the piece into a mesh. So without further ado, let's just go ahead and get started. To begin with. I'm going to go ahead and turn off the sub tools. Everything that is used to create my eye here. And after I do that, I'm going to go all the way up here as we always do. And then just select the sphere 3D and then select where it says tool up here and change that to cylinder. That will be where we're going to start off with on this. I'd like to go ahead and get a sense of how I'd like to initialize this. And I'm actually going to probably do a little bit of rework on the initialization phase. Probably not unified skin. Probably go through and maximize the two blue-eyed. Don't really care too much about the, well, I wanted to be a fully round sphere. Actually. I don't need a radius circle. And honestly that's all I really need. I can lose all this stuff up here as well. If you really are looking to be modular, I can get rid of that as well. Here, let's make sure that's her a 100, so it looks perfectly round and let's make sure that radius is also taken out. And now let's go to make poly mesh 3D. So now that we have this new tool, let's go ahead and duplicate this a couple of times. So now we've got two of them, and let's bring it back up here once more. And now let's work with some Booleans and make this look interesting. To start off with, I'm going to just, we're gonna do some very simple. We're just going to go up to transform, activate our symmetry, activate radial symmetry, and then click on the y axis. And then we're going to have radial count of eight. As you can see, that gives us our little. The perfect piece right here of being circular around. I also make sure I have local symmetry on this is going to be a very important part in manipulating the insert meshes that we're going to be using in air and creating a Boolean out of them. So for starters, let's go now and hitting the BK, bringing up this brush pallet. Let's go to insert primitives and go across here. And I'd like to go ahead and hit Insert q as my choice. And for that, I'm just going to do my best to draw as best I can. Just sort of the nice, perfectly straight no is seen of perfect straight line across of eight cubes. And then I'd like to split. Those are getting unmasked. Since that is the case with that these pieces are unmasked. And now I'm going to work with these eight cubes here, making sure everything is still toggled in symmetry mode and making sure local cemetery is activated because I'd like to manipulate all of these individually, as opposed to turning off local symmetry, which will just simply do a different result of how you want this min that I don't like that, how that approaches. So let's go ahead and do this. I'm going to scale, translate this down to the center of the cylinder. Lets you can see. And now I'm just simply scaling using the z-axis. Hopefully it's easy for you if it's someone else on changing, it's messy, you can. And that's about what I like to see content to that. So now that we got that, let's go ahead and turn this back into a Boolean piece. So we can have a bit of an interesting little section here. Remember, you can also manipulate how this goes. But as far as this concern, I'm concerned, this is about where I like to see it. So that's all I need to really do for that. Now this next piece right here is going to be the same cylinder. See I had clicked on that. Now I'm clicking on the duplicated second cylinder I made. And now I'm just going to turn the visibility on there and I'm just simply going the R key for scaling. I'm going to scale it in a little bit, fact, so it completely disappears. Then finally, I'm gonna skill it lengthwise. So it comes back up again like that. Nothing too crazy, right? Easy peasy. Now, since the order is everything in these tools, I am going to move this sub tool above this sub tool as well, because I have plans to use this piece. So I'm going to go ahead and scroll right down here where it says Move up with the arrow, doing a right turn. Now, after doing that, I can now work with my Boolean piece to affect this central inside piece for that just hidden shipped up to show you what's going on here. I'm going to then hold Control and the translate button so I can duplicate my Boolean piece without having to duplicate the sub tool. I'm actually intending this piece here to be sort of like the piece that's going to affect only what's going on in that centralized piece right there. To do that. It looks a little wonky. I know that's probably intended. Now. You have to hit Pause, go on ahead, hit pause, do what you need to do. If I'm moving too fast. With this is sort of the desired look that I'm trying to obtain right here. This is all that we're going to be going through right here. Just this part. You can see. Please, by all means, again, again, again, hit pause and things just don't add up or down and axons. Or if I'm moving too quickly. But that is about what we want to see. So after making that piece, what am I going to do next? I'm going to actually combine these two tools together, these two sub tools. And there's not the Boolean, but the sub tools right here by. And to do that, I'm going to go to the very top one of the sub tools that top cylinder click and hit Merge Down. Okay? And now I have a piece that I would like to now finish off as a Boolean piece. I'd like to go through the process of creating this in turning this into a Boolean, you really shouldn't have too much trouble with that. And it was pretty quick process. So I'm just simply going to do the last thing here. And that is hit Append. Alright. Now that we have this piece put applied there, we're going to start in on our array meshes. So the next lesson is going to be how we're going to turn this piece now into an array mesh that's going to be used in creating our connecting piece to the base plate and the I. Thank you. 23. Creating Eye Connector Part 2 Arrays: All right, welcome back. As you can see, we have our little piece right here that we've created. I'm just going to just hit the R key, maybe just scale this down. What we're gonna do now with this piece is we're gonna take it through array mash and nano mesh. I like to use array and nano mesh together because, well, for starters, array mesh sort of creates a string of instance geometry that kinda forms a little bit of the backbone in terms of the connecting piece that we're going to be using between the I and the face plate. And then of course I like to use nano mesh because it seems to do Another job of creating that piece in terms of of exporting out correctly because array mesh is a little bit glitchy and doing that. So to get started, I'm just going to caution you one more time to save on this because this is a common crash area. Do not do quick saves for this particular area, do Save As Quick saves when it comes to quick instance geometry triggers crashes and so does left option or left Alt key when you're switching between sub tools, that's a very common place when it comes to crashes here. Excuse me. Okay. So let's go ahead and get started to give me an idea how or a mesh works. It's very simple. We just go to the right side here and we just go through and spine array mesh listed under Geometry. And all we do is just simply toggle array mesh. Now, to go from There, we go through, oh no, I'm going to click the y button because I'd like to get a idea where it's going to go and I'm scaling through the negative y. And now that we have this instance geometry, what we want to do is fill in between all these areas. So to do the same thing. So to do that, we go through the repeat key and see, you can see we can change it as much as you want. I'm not going to be too crazy on it. Actually. For me, I'm going to be doing just about maybe there. And what I'd like to do is I'd like to leave a little bit of space between just kinda toggling back and forth. You're maybe doing a repeater and might do the trick now that will work for me. Now from there, we can go ahead and do a convert and make mesh. However, I found some wonky results when I got that. So I'm gonna go ahead and run it through nano mesh. And that's just so I can get them proper export conversion from the instance geometry into the polygon mesh geometry. So we're not going to be touching too much on nano meshes. It's something very similar. We'll probably do that to a, another filter. But when it's now, now that it's in it's nano mesh form. You can go ahead and cycle through to nano mesh under the array mesh here. And then go all the way to inventory where it says one to mesh. And that should create your piece right there. Now, keep in mind though, when you create that piece, you're also creating some other things as well. When you do something from nano mesh, you're also going to be creating the blue cards that come with it. So we want to get those off of there. So to do that, I gotta Hinton ship deaf so I can see those cards a little bit better. And I'm looking at him right now and I just kinda wanna hit 1 on there and I'm holding down Control Shift, then tapping on it. I'd like to get that separated off of there. I'd like to get it separated off this the sub tool. So I'm going to just draw a mask right over it, bring everything back now. And I'm just going to simply hit Split masked points because the cards are masked. Now that we have that, let's just go through it. We can just delete it off. It's no big deal. Now that we have this piece, I'd like to go through, all, all I'm gonna do is first of all, I'm going to center my gizmo manipulator to right in the middle. And then I'm going to scale it on x to cross like about there. Maybe just a little more. Or you can push it. And from there, I'd like to append a cylinder. And for that, I'm just going to go in my sub tool section, hit a pen, find cylinder 3D right here, and click on it. And then go to my sub tools and get that cylinder. And then I'm going to bring him right into the center here. Lastly, I'm going to just scale him with, in our new piece right here. And, and of course I'm going to scale them out like twice until it should look something like that. Now, lastly, I'm going to put two more cylinders. But before I do that, let's just go ahead and touch base on this piece right here. This is going to bend into form, but the geometry and the cylinder isn't going to work all sorts of different ways you can do that and to help fix for it. But for me, I'm just going to do a couple of things. First off, I'm going to divide the character So just once, so it's a little bit smoother. And I'm going to go through DynaMesh. And I'm probably going to hit with AD as my resolution and just do a basic DynaMesh here. And that's just going to give me my piece that I need. And now from there, I'm going to duplicate this within the same sub tool twice. And again, that's not I'm not going to be going through and duplicating the sub tool. I'm just going to hold control and toggle with the translate manipulator of rotation or scale. Just translate scale Hamon to be a little bit smaller. Like so. And then we're going to do this lengthwise, like so. And then again, we're going to hold control and toggle across trying to get the spacing as best as you can between these two guys here. All right, drag the mask off. And the final step will be to merge both the cylinder and the array mesh that you constructed and converted into a full sculpted geometry piece. You're going to merge those sub tools to gather. By hitting Merge Down. Now again, I'm going too fast at any point, just remember that you can just keep on rewinding. Just pause, rewind, pause, rewind. In fact, I watch the video first before, all the way through first without doing anything before rewatching it and following along. Now, now that we have this piece done, I'm just going to duplicate the sub tool. No big deal, just those simple, basic duplicate. And then I'm holding the E, are oppressing the E key down and just tapping at once. And I'm holding Shift and working with the y axis to, whoops, turn this guy on. Come with the y-axis to do a 90 degree turn angle or I'm sorry. I don't know why so but this you can see we've got the base spine for our little guy here. But one thing that I do want to note is that the center cylinder here, it's actually doubling up with this, the second one that's coming in. So you're going to have to delete one of them. And if in case we're lost on that, It's all it is is just simply hitting a mask on it. If they're all on the same poly group. And you can just simply just click on it and just drag a mask on there, go split masked points. And now that pieces off. And we don't have to worry about duplicating that all the way around as it will stay there. Just going to hit to lead on this piece right here. And then for all intensive purposes, I'm going to merge these two sub dual sub tools down. And that is all that I need to do, includes the first part of the connector. The next part is going to be detailing the wires that go around this piece. And then finally using the gizmo manipulator to twist it in hook. And it creates sort of like a twist in cool little turn. So we're going to be combining some ZBrush for RA features into this. So thank you for listening. 24. Creating Eye Connector Part 3 Small Wires: Okay, and welcome back. We're now in the second phase so of creating this detailed connector piece here. And that's going to be adding some secondary details of wires that will be swirling around here. It's going to be a fun one because we get to now touch base on some of the deformer modes and the gizmo 3D manipulator to accomplish that. So it's going to be a pretty simple one here. And for that, before we begin, I'm just going to attach into my sub tool set a basic plain 3D. And that is a simple piece that we put up here. I'm going to turn off the visibility now on this. And now that we have our plane, just for fun, I'm going to rotate this guy 90 degrees this way, so it comes down like so just going to slide them right back down. And now all I'm doing is just hitting Control D to not FK. Sorry. I'm hitting Control D to divide this a couple of times. Too crazy, maybe just a couple 100. I'm now going to want to change the drag mask tool set of what my stroke is going to be. To do that, I'm going to hold down control until things change up here. And I'm, while holding Control down, I'm going to find circle. And you know, you could select center of that makes it easier. And all that I'm going to do in this case is I am just going to draw in a Screw it, I'll just do a little more division. I'm just going to draw in random pieces of spheres. No particular pattern or anything like that. Just something that's completely random. It makes sure you have a variety of different sizes in this place that usually creates the best looking effect. And from there, now that we have this, I like to, you can go ahead and turn this into a polygraph to be saved. Or you can just simply invert the mask. If that makes it easier. Poly groups kinda create almost like a permanent, say if a boy at U Mass didn't, so you don't have to worry about losing anything. And it's just simple. All you have to do once you do that mask is just simply hit Control W and it converts your mask into the poly group that you want. And I know that I've touched base on this over and over throughout the tutorial, but kinda just want to reiterate, reapply, reiterate, reiterate until it sinks. So holding Control Shift and reiterating as always, I'm going to drag a mask on these guys. The control shift, as we know, is an isolate select. And then finally I'm holding down Control and then reversing the mask by tapping off the side, holding Control, tap off to the side. And now it's just a precedent WQ to bring up my own gizmo and bringing this guy straight up. Like so. How long do we want to bring them up? How far up do we want to go? Let's take a look here. Along as our array mesh. Probably right around there. Maybe just a little bit off. Like so. Which is good enough. And I'm only bringing in just so I can see now that I'm happy with the length, Let's cut this plane out. Not with a knot, with a clip curve, but as you guessed it, my favorite, the trim curve. So just going to go holding down Control Shift, bringing up the trim curve. I'm just bringing this guy up now, finally my trim curve and then releasing, holding down Control Shift again and drawing out a line oh, and don't forget, I just hit multiple subdivisions which trim curve doesn't like. So I got to delete the lower by going under Geometry. So having done that, I should be able to cut off that plane that's going on there. But before I do that, I gotta make sure the mask is cleared off else it's just going to draw in a cut in the line poly group. So now that I have this, as you can see from it, there's no real geometry to bender contort these wires around. So to again fix that, we have to go back through our DynaMesh and turn these pieces into DynaMesh. It's not really too expensive on the DynaMesh. We have to not really necessary as far as zooming out was goes. So I'm just going to try a low resolution here and see what I can get. And hopefully it's something fairly decent and doesn't crash my computer because of a random instance. Thank you for now corruption. See Russia always likes to have fun with it. Crashes and unpredictable places. So we definitely want to make sure that we're saving often, which I have to admit I'm not doing a good job of role modeling right now. Usually I worry about that when array or nano meshes are up. Okay, so now we've got our DynaMesh pieces. And they are, you can barely see. It's pretty easy to see that. Not too much of it to really changed all that badly, not that bad, actually. Just want to make sure two, then this guy out and may require a couple of divisions if it gets a little too blocky. Now that we've done that, let's bring in our main connector. Now with the sub tool still on the thin wires, I'm just going to move first. I'm going to move this guy out a little bit more. And I'm going to re-center my piece. And from here, we're going to go in and we're going to work with the deformers and our gives tool. So for that, we're going to do two methods. First of all, we're going to experiment a little bit. Starting with the arc. As you can see. If you didn't see me selected, I'll go back. Bend arc. That's the one I'm on right now. If we do bend arc, then the idea of where we want to be at is this. We want this to bend almost like a C. And to do that, we need to toggle with the green arrow. Green arrow is going to be sort of like the main manipulating arrow. Now, having said that, we also want this to twists around. So after we've get established RC by dragging out this green arrow from left to right, depending on your point of view, I'm going to just simply hit except I'm going to then center things up and I'm going to work with a twist on this one. Twist kinda has a little bit of different features as you can see. But the most, you can also see, the most important features that are being delivered are the ones that I want. So The center ones that you want, although you get some pretty cool looking origami effects, as you can see. But the real toggling that you're going to be doing is not here or here. It's going to actually be up here. On the up and down arrows. I'm just going to work with that. This is just something you got to play with and create your own little design. Remember that? The Arc, my probably should've mentioned this. I kind of made my see a little bit shallow so you can always go back and fix things if you don't like where you're seeing things go. Like for example, I just wanted to make the arc bend a little bit more this way. Now let's see if I can manipulate that same green arrow. You can also do it that way. Actually scratch that will go right there. I'm going to then hit Accept. Do a second bend arc. Then Let's see if I can work with toggling around. Maybe something like that. I don't want that. Remember. Just because we're working with the formers to start things off doesn't mean we have to rely 100 percent on it. Because you also have a whole array of meshes as well. And the move tools. I don't like to start off with the move tools though, until I have. Done sufficient amount of time on this piece to shall we say, worked with the deforming pieces of the light, for example, the twist to bend arc. I like to start there before resorting to Move tool because sometimes move tool can mash things around a little bit. So let's just see if we can get this twist to hug around this piece right here. Let's go ahead and see if we can duplicate this sub tool. Bring it back in here. I'm just working with Gizmo to sort of just reorganize a whole new set of tools. Again, just working with another area. Well, this is just a single strand of wires that I'm working with, not really doing anything special with them. So keep that in mind. You can redo this whole thing. So you have this amount of wires and, or another set of wires somewhere else. But once you are done with that, you get kind of an interesting looking result as you can see. And then the idea is to combine all of the wires up. And then once again reapply the same process, which will be to do this. We're going to go to the very top. We're going to merge the pieces down. And we're going to repeat everything that you just learned and picked up one final time. Starting with bend arc. Not too crazy. And then you accept and then going from Ben dark to twist, then going from there. And you kinda get a cool little piece right there. As you can see, we kinda have ourselves already the starting place on where we create our connector joint. And we did it in a pretty short amount of time. So it's sort of where you can go. Like for example, there's not a lot of wires here, but you can repeat the wire process again only with maybe just a couple of strands to break up variation of number of wires and maybe have two or three instead of like six or seven over here, just have two or three running through here. The idea is to make an inconsistent number of wires all through around there. So that is something to be practicing with. We're going to go ahead and move on with that. And remember, I just wanted to show you the concept of it so that you can know how to work with it and move on. And from there we're going to cover the final part of this, which will be to create sort of like a connecting piece that goes into the eye. It's just a very simple tutorial and the next one. Thank you. 25. Creating Connector Plug: Okay, and welcome back. Right now. As you can see, we've created our little tubular piece right here that we're going to be using. Now all that's left is we're going to be making a connector plug for this piece to go into. So as you can see from this piece, you should have all the pieces merged into one sub tool. And if you want, you can export that out up here to an OBJ and possibly to import into your AI file that has all the cybernetic I equipment. So in this tutorial, you're going to want to go back to that piece. So that's going to be this file right here where we were going to turn on all the pieces here on the sub tool where we have our eyepiece all put in place. And now that we've created a connector, let's just go ahead and bring it in. Either if you want to just imported in or in this case, I just simply going to append the connecting piece. Like so. And of course, it is a bit big, so we're going to need to scale that piece down. And fortunately, because it's all on one mesh, that won't be too much of a problem. Let's go back still in, we're still in our twist to former modes, so let's just hit Accept and then we can get things back to normal here. I'm going to turn off the floor so we don't need that anymore for reference. And now all I need is just to create a little bit of a reference of size here. It may just be simply plugging it in, but what I'd like to do on this piece now as you can see, it matches up like to actually put something here. So let me just go ahead and get that a little bit more centered in Excel. So what I'm going to do is I'm going to append into this sub tool set. I'm just going to hit all so quick. So I'd like to append a sphere 3D. And because I'd like to create something that plugs into the eye connector that might just help cover up some areas because I don't like that. Meshes or intersects and shows no way of how it goes in. So we're not gonna do anything too crazy on it. We're just going to first off, bring it out here a little bit so that I can look at it. And then we're going to divide it a couple of times, hitting Control D couple of times. And then we're going to hold Control Shift to start looking for our clip curve up here. And then once we find it, we release control shift and then once again press Control Shift Down. And that is how we're going to pretty much be taken care of things here. I like to get a piece roughly like this. So if you want to see that again, I'm going to go ahead and use my clip curve and just cut this sphere in half like so. I'm not too worried about this piece. I know I always am against clip curves, but I'm not gonna do any Boolean operations, so I'm not too overly worried about everything here. So I'm going to just try to make a piece that roughly looks like this. I'm making two cuts, one right down the center and one that's about 15 to 20 percent in from the left side on into the right. Like so. After that, I am going to, first of all take this up here and I want it to be right in front. I'm going to draw a mask, a circle mask if you will. And for that, I'm going to have to make sure when holding Control down that my stroke menu has the circle radical highlighted. And then going to also give one more division because I kinda looked at it and didn't like what I was seeing. You don't have to give it a division if you want, but make sure if it's too low of a resolution that you have group loops plied by making the masked area a group. In this case, I'm going to do that very thing. Just gonna do my best to sort of get as most centered piece I can. And also I'm going to try to erase this so I'm holding down Control and then I'm holding down left Alt key to erase that mask. And I am now just left with this piece right here that is masked. And for that, I want to turn that masked area into a group loop. So to do that again, as I say before, it is Control W or Command W if you're on a Mac. And that's still not enough for me. I want to still make the transition of this group loop pretty seamless and smooth. So I want to put some edge loops around that group loop. To do that again, we have to make sure our geometry is deleted. So I'm going to delete lower geometry. And then I'm going to go through and find my edge loop and maybe take it down a couple. And where it says Group loop here, I'm just going to tap it. And I shouldn't have too much of a problem getting what I want. Now as you can see, we have some group loops played around there. All I need to do now is just hold Control, Shift and tap on the center group loop there for an isolate select. And now that I have that isolates select, I'm holding down control and dragging a mask over it. And now after I have established a mask in that one area of the group loop, I'm simply going to bring everything back again, which is holding Control Shift, bringing everything back. Finally, just simply invert the mask. Now after that, it's just a simple matter of bringing things in like so there's a little bit wonky notice on this. So I'm going to probably before going any further, I'd like to clean this up a little bit just so I can have a very clean mesh on there. So probably didn't notice that before, but now I do see it going through deformation to clean that up, I'm going to be doing published by group loops. Turning circle up here. Make sure you turn it into a hollow circle before you move the slider and the Polish by group loops. Polish by groups, I'm sorry. And oops, I forgot one more thing that was essential here. And that is doing my isolates select. And they're just dragging it a couple of times until I get some smooth. And also work with some of the other features as well, polished by features. And you can see the loop is now turning into something a lot smoother. Now I'll just drag that circle over again, bring everything back by Control Shift and clicking off to the side. And we add a little bit smoother of a circle here. And that is how we're going to do that. Now. I'm going to then go forward on trying to do one last thing. Actually, two last things. I'm going to bring up everything. Again, broad pressing B and going to my insert mesh primitives. And I'm going to go up here and I'm going to find insert cylinder. Remember if I go too fast, just remember, just pause, stop, rewind, pause, stop, rewind. Even always before following along. Watch it wants through before beginning. Right? Transform. Want to add some symmetry to this radial symmetry and then a four count. Now I'm hitting the X key. As we can see, not get what we want. And I think that's because I have local symmetry turned off. Even then. It's still not in the right orientation. So let's go ahead and see what that looks like under the oh, sorry. Under the y. And that should be the correct orientation. So let's just see if we can make a cross shaped piece right here. Like so. Then we're going to hold the V key. And my orientations a little bit off here. So I gotta go ahead and reset that again, clicking on the unlock key and coming back here to reset orientation, and then going back to locking it. Now let's see if we can get what we want. Perfect. Right now that we have what we want, would like to take this off and give it a couple of divisions of its own. So since everything is masked here, I don't have to do any extra work. I'm just going to simply try to do split unmasked. Now that I have that, I scroll down here and find my piece. And I'm going to give a couple of divisions on their, looks like it's a little holding a couple of its pieces of geometry. So I got to smooth that out. Even when dividing in this particular insert mesh primitive, it doesn't get smooth like most. So you're going to have to actually do a little bit of work and the deformations and Polish by Groups feature. And you can kind of get that little insert mesh there. Now since we did that, we have a very wonky looking clay area. So let's clean that up again. We are not worried about primitives or trying to get a Boolean operation here. So I'm using clip curve has a quick shortcut. And then through this, if I'm doing the same thing, and that's actually not too bad. You can kinda play also along with it. Maybe you want to have a shape like that. Bring it in a little bit more. Bring it in so it has an angle to it. And now it's just one of those things so you can try to mess around with. So now that we have that, let's go ahead and go to sub tool and combine these two pieces together once again. And that's going to be in the Merge Down feature. And now all I need to do is just read, apply this to the center of the back part in the eye. Make sure your symmetry is off. And now I'm just bringing it right in here. And try to do your best just to center it up. Alright? And then take your you're connecting piece and just try to do your best in trying to get it to fit in the proper hole. Here. If you want to go back and work with the the deformers of the gizmo to twist and contoured it so it can kind of fit at an angle that works better for you. Please go on ahead and feel free to do so. I'm going to leave mine like that, but I'm going to use MOOC brush just to tuck in those wires there. Here we go. Like so. So we'll find a little touch up that I'm going to be doing here. Is, if you remember this little cut boolean that we did, I'm going to actually be reusing that piece. And I'm thinking I'm one to apply it all the way back here so I can duplicate that Boolean sub tool. But since I have multiple ones, I don't want to have to go through that, so I'm just going to simply hit hold down control and toggle that translate across. To give myself a second piece. There is our piece. So I'm just going to mess around, maybe get my soap interesting looking, cut with this Boolean piece. Nothing too crazy. And if you're wondering why it's not affecting it, I almost forgot myself. It's because this Boolean piece is above this piece to get it to affect this piece, as I said before, it has to be below the sub tool, so we have to just move it around, move the camera around, and we got our piece. Whenever I work with Boolean sum, it's actually kind of interesting. It's almost like you, like finding a piece that works for you, finding the area that works for you. Best. There we go, we can kinda get a cool little lip there. Alright. And that's going to be how we make our little connector piece. Next is going to be a little quick one where we're going to demonstrate how to draw in some wires to connect in thread through these two holes. And for that, I'm going to probably be making a little bit of readjustments to this piece by being careful and trying to make sure that this one piece goes between this piece right here. This opening here goes between this opening here. It's just sort of keep in mind sort of scenario. So stay tuned for the next episode. 26. Finalizing Eye Drawing In Wires: All right, welcome back. In this next tutorial, I'm going to show you how to put some wires through these threat or pieces here. And first, starting off with, the one thing that we're going to do to begin with is we're going to touch base on this base character right here. This probably as you left off, was a solid mesh 3D. What I did was I didn't isolate select on the connector plug and just basically did a fear mask on top of this area with the radius cemetery turned on radial symmetry, turned on, inverted the mask and then push the piece back in. You're going to have to have a little bit of a piece there. I didn't really do too much crazy cleaning up because it's a very small area. This whole things of very small, difficult areas to put in. It's not really difficult. It's just that it's not seen very much. So I didn't really put too much crazy attention to it. But if you're a stickler and want to learn every single area, then it's just the same principle of everything else that we've been putting work group loops. And with after making a group loops through, I'm sorry, poly groups through masks and then turning them into group loops, then cleaning the group loops up through deprivation and then doing the extraction or pushing in. It's still the same concept, but I didn't do too much of that because I didn't find it to be a priority. So having said that and explain that, all we're gonna do next is we're going to create some wires and we're going to have them come all the way through here. And what I'd like to do is have them go all the way up here. Now one of the tricks about this is two things. One, if you try to create some wires with all of these Booleans to wires are going to get affected by the Boolean pieces that are still in play. Now one way you can get around that is you can do a Boolean operation idea to do that. So the other problem that we're going to have is these little cylinder pieces right here. We're going to be working with the Pali insert cylinder extension right here. And that piece has the snap preset already turned on. In other words, it's going to be hugging geometry and a result. It's going to hug right on over this piece. So what we have to do is we have to go all the way up. And we got to find these cylindrical little pieces right here. And we got to turn the visibility of them off. That way. When we go through, it's going to not add it here over those pieces. Also, I'm not going to be drawing on top of here because I don't want the Boolean pieces to be affected. So what I did do was I appended a sphere right on top of this, and I drew upon that sphere. Now to do that, we got to do, make a couple of things. There's a couple of areas here that have to be done in check in one is first to go through an append, make a sphere, and bring it into your sub tool area. And then finally, scale it to the necessary proportions so that everything can be seen. I'm going to go ahead and select that sub tool that has that sphere which is at the very bottom. And I'm just going to bring it in. And I want to bring in in deep enough so that I can see this little crevice here because that's as far as I want to go in terms of bringing in those wires. So to start off, we have our piece selected. All it is is just a matter of drawing two wires here and two wires, they're each wire a different size. Nothing too crazy. It's just going to be like that. If you find it to be too short for any reason there. In case anyone knows what I did. If you stop midway and it's just not long enough, cycle over to the end where the point is and move it over until you see that red line come up and then you can continue on by left clicking. So now remember, we're dealing with curves. So if you draw a new curve and that's going to make the old one disappears. So we got to be able to move to a new one by left, clicking off and getting and down. Now we can draw in a new curve. I'd like to change though the radius of this. So make sure to understand that's a big deal when drawing these, the size of these little pieces here are going to have an impact on that. Now we're going to do the same thing again. I think that's about where I want it a little bit over, but that's okay. And that's all I need right there. That's all that's necessary. And you know what, just the break things up a little bit more. I'm even going to try to make more variations of different sizes. That one's good. Whoops. Then make an even smaller one. That's a little too close to home. Now, now that we have that we can kind of see some areas here where it's kinda slipping under. Don't worry about that. All we have to do is, is as you can see, everything's masked, fear, the wires, everything. So let's just clear off that mask. And let's just go and hit the R key. You can see our center point is a bit off. So let's go ahead and recenter that. And now scale it up just a little bit out so that you can clearly see those spheres or I'm sorry, as cylinders going outside, may need to do a little bit of readjusting into the piece of wiring, making sure nothing goes to out of whack. As you can see. I'm actually trying to navigate through. Now. I'm having some problems here. I'm just going to try to fix that with the brush, the Move tool. And that's why it's important to learn quickselect. Oops. All right, so now that we have what we're looking for here, Let's get this sphere knocked off. To do that, we can do it a whole bunch of different ways. So I'm gonna do the isolate select way That's holding Control, Shift and left clicking on the sphere. Now you're gonna get an isolate select on the sphere and make those wires disappear because they're in two different poly groups. And that's pretty much what Control and Shift do they isolate, select the poly group. So as a result, I now have the sphere on its own. I'm just going to drag a mask all the way across and then bring everything back by holding Control Shift and just left clicking off to the side. And then I'm simply hitting split masked. And finally, we can turn that piece off and we got ourselves some wires that we can work with. And thank you safety net. After we have done this, you can just sort of clear and click back on here again. And as you can see, we have these wires all the way checked in. We can do anything we want with them. We can go through the Move tool. And that's what I like to do. I just kinda like to do a couple and nudges through the Move tool. And it's just a matter of readjusting things I kinda wanted just get it underneath the lip online. And then once you are satisfied with what you like, in this case, I'm deleting that sphere off. I don't need it. But you can do is now you can duplicate the sub tool. And because we have such an awesome, awesome manipulator, we can kinda go back and work a little bit more magic with the gizmo 3D manipulator and bring things in similar to how things were brought in before. And that again works with, oops, would be the scale tool. All that is again, is just me dragging around with the move tool what I've already created because I don't have to draw this all out again is not necessary at all. So it's pretty much as you can see, like I just did this. There's only two more I have to do just like that. And again, if you have this issue where oh, it's not matching up, remember, you have the Move tool to make those final adjustments. Just go ahead, take your time on it to get everything lined up exactly the way you want to see it. In this case, I'm just going to draw a mask because I'm just going to draw everything here. Don't forget about the move tool when you're moving wires around, make sure you have a big brush. Don't work with a small brush. Else you're going to really tear up the geometry and create wrinkles all over kind of like what I'm doing right here. As you can see. So having said that, I'm going to do that two more times and get these areas here filled. I've already got half of this and the short amount of time. So go ahead and go all the way around and put wires in. And then on the final detailing of this, we're going to show you how to apply those customize Booleans upon this split cylinder. Thank you. 27. Finalizing Eye Applying Customized Boolean: Okay, welcome back. We are at the final phase of finishing up this i. And all that's left now is to apply a finishing touch of customized Booleans or around the body of this eye. And to do that, like I said, we're going to be using a customized Boolean. And before we get to that, let me just go ahead and say As you can see from this, I I went on ahead and duplicated all the meshes across duplicated, I'm sorry, the sub tools of just those two wires all the way across here and filled out and I wires that surround the body and then finally combine them into a single sub tool. Afterwards, we're just now going to bring in our customized Boolean now to kinda fill in all these little gap areas randomly. Now for those that aren't sure what a customized boolean is, we haven't really touched too much basis on it. The customized boolean is basically a resource file that I, of a Boolean I made for you in Udemy. There is a tutorial for it that is completely free, that also has that same download of the Boolean resource files, separate free tutorials. So be sure to check it out. Now if you download it, if you have to hit pause to download the recess file, I would do so right now. Finally, once you've downloaded that file, that OBJ file, you should be able to import it into your scene by clicking off to a different tool in hitting in court. And eventually you should be able to come up with something along these lines. Leave the resource file. I'm going to attach this a little bit different because there's some non manifold issues and I'm working with on this, but we'll just use this one right now in case any problems come up, I'd like to actually be able to troubleshoot them right in front of you in case you have to deal with them. So now that I've, as you can see, I've already imported my customize Boolean in. And so I'll just go back to my original scene and just merely append that boolean on. There. You have it. It is right there. All from this point on, I'm going to move the Boolean around to a certain area. There's a couple of proper preparations we had to make before we create this piece. And one of them is that the order in which this Boolean is to be, has to be in a specific place where it's got to affect the body and not the wires. Having said that, there is going to be a little bit, There's also going to be one more thing I'm going to do on this. And that is, I'm going to once again, like before, append a sphere. That's fear. I'm going to give it a couple of divisions because it's going to be very important that this is a smooth sphere. And I'm going to bring it up just a little bit here. The reason I'm doing this is because I would like to actually have a boolean that has a specific shape that can be applied to the surface here. And I need this little sphere here, this very round sphere as a modeling reference to help me with that. So before we start, let's go ahead and just get this projected nicely. So to start off, I'm going to turn off the visibility of every sub tool except my bul, customized Boolean and my sphere, my newly imported sphere. I'm going to go through, like you see here. Just work my way all the way up until you see nothing but this. And I'm also going to go over here and just toggle the transparency button so it can be seen. From there. I'm going to select the sub tool that has my customize Boolean. Then I'm going to work with matchmaker. Actually. Before I do that, we duplicate the sub tool, turn off the visibility just in just so I can have sort of like a backup for myself. Like to create backups. A was what I was saying was we're going to be working with matchmaker to conform the shape of this customized Boolean so that it can fit smoothly around the eye. And to do that, we're going to look for matchmaker and it should be right there. And then we just go right to the very center left-click hold and just drag all the way out. And as you can see, we now have the customized Boolean conform to the proper shape that we need, which is also a sphere that's in similar size and shape of everything else. Now. I don't really need the sphere, but I'm just for the sake of keeping everything in place, I'm just turning the visibility off. From this point on. I'm actually now I'm also going to turn transparency off. Now if you have been guessed it by now, all we're gonna do in this is we're going to apply this Boolean in sections and pieces all around here. For that, I'm going to first of all, take this piece and you know what? For fun, I'm going to duplicate this one more time just for file keeping reference. Because I may want to reuse form shape in different areas there. Now I'm going to go ahead and turn on the Boolean in create and turn it into a customized Boolean. And then she's shown you should go to kinda give you the effect of what it is you're expected to see here. As you can see, we got ourselves a little bit of a piece right here that we can manipulate around just by dragging in. But I don't like how it cuts into the elevated areas there. The other thing to consider when you do this is the, again, the order of the operations. Look at the loop. You're losing the wires. When I turn on that sub tool we made with the wires all connected together, we're losing it there. So in case you've, we've forgotten, the way to fix that is to first off, just changed the order in which these wires are at. Since this Boolean is below the wires, these wires are getting affected. So let's bring it below. Now, if we move the camera around, we'll get our wires back. So that fix one problem. Now what's the other problem? The other problem is, is that I kinda feel like the Booleans a little bit too big. And also, oops, we get to the proper. So two and also I'd like to cut it up so that it conforms to the proper size in different places. Like I'd like to cut it up. So it's only in this area or only in this area. So to do that, we're going to first of all select or Boolean and then to give us some point of reference so we can see a little bit of it. I got transparency turned on, which helps see all the areas that I wouldn't be able to see if I turned off, I wouldn't be able to see this area to know where to cut up. So to cut these pieces up, we are going to be using a control shift to holding down and then it's it's up in the air. I would like to try a trim curve before having to resort to clip curve. If you go clip curve and you create some non manifold geometry out of the flattened, it's really going to mess up the length times of your Boolean being cut. So having said that, let's see how well of a cut we can get. Now let's turn transparency off. And as you can see, we already have a little bit of a piece there that we can cut. We have put into play. And you know, you can just, you can manipulate these anyway you want. It's not, there's no real black and white, correct? Way to do it. It's your piece, it's how you want it to be. So there's not anything other than that. One thing I will say though, I want this customize boolean to be affecting only this sphere. So if I turn everything on, let's go ahead and go through this. Again. I'm gonna go ahead and turn everything back on. That means my Booleans and the pieces that I created, everything we created all the way down road. Now, it doesn't look like it's affecting too many things. However, if Anything that you made that this customized boolean has gotten in the way of and it's only intending to affect the sphere. First of all, you have to identify where your sphere is, which is up here. And if you only want the sphere to be effected, make sure it's on top. And then we simply just go to move up, which is below, just below the sub tool. It's this right turn above and over arrow here. Also control up arrow tool. We go all the way up and you won't have it affect anything else but this. So having said that, that's pretty much how you apply a customized Boolean. I'm going to go through this now and just apply these customized Booleans everywhere across the mesh as you can see. And then after that, we'll go ahead and just make this a, a final piece to a lump. Sorry, I will turn this into a make Boolean operation and export it out and have it ready to go. So stay tuned for the next lesson. 28. Finalizing Eye Boolean Operation And Export: Alright, and welcome to the last part of the finalizing I phase. As you can see through here, I've done a little bit of just kinda spread out and did a few customize Booleans across the spherical I. If you had any problems using the trim curve brush or got some unusual results that you didn't like. Just remember, you can always revert back to the clip curve brush as long as you make sure to use to trim curve at the end to trim off the very, very edges in any non manifold geometry that is created by the clip curve brush. So keeping that in mind, what we're gonna do here in this tutorial is we're just going to basically do a Boolean operation, assemble everything together and make sure everything is exported out correctly. To do that, we have to look at this eye here and turn off all the sub tools that are not getting affected by the Boolean. So for example, the wires that we drew in, there's no Boolean effects on that. And the sphere that I use to model, it doesn't really need a Boolean operation of any kind. And that excessive customize Boolean I don't need. Also want to make sure I say because it's been a while since I saved and we're going to be doing a Boolean operation. So you may be best interests to keep ourselves in that safe zone. Let's see, that's a model sphere. We don't really need that. One of the Booleans that we're using, that's another Boolean that we're using. So remember the only thing that we're turning on in keeping visible are either the Booleans or the sub tools that are getting affected that we want through the Booleans. This little plug here, there's no Boolean on it. Oh, actually there is a little bit right here, so we'll keep that on there. The connector has no Boolean operations. We can turn that off. The sub tool here. And this sub tool, they're all Booleans being used. And let's see, that is all Booleans that we used. Radial symmetry. We're just kinda going through the checklist here. Let's see here. Let's check this one out. I kinda want to look into this one. See what we got here. We got a little bit of an unusual artifact. Let's look at that for a second. Looks like during my I got a little bit of a piece here that got cut off that's a little bit into the place. So to make that disappear, I'm just going to hold Control Shift. Well in my select and then release, then hold Control Shift. And then I can release control shift, but I'm still holding the left-click and drag, and now I'm repressing left Alt or Option key to make that disappear. Now that we've made it disappear, we gotta make sure it's gone for good. So let's go through Geometry, modify Topology, and then delete hidden. Now it is gone for good. So we go ahead and bring that back in. Should be what we're expecting. So what we want. And did this one a little bit odd when I was I didn't follow my own rules. And when I made this one, this one's a little bit of an odd ball B, so I'm just probably going to use a couple of things. First of all, and click curve to cut it off. And then finally, trim Curve 2. Follow up. Make sure there isn't any excess before it. And then just going on, Let's see. Everything else seems to be where I want it. So let's just go ahead and let's just make this into a sub tool Boolean. Let's go through here and we're gonna go through sub tool Boolean and then make Boolean mesh. Now, I'm already in the mindset of expecting errors problems. I always do that in every single case. And you should too. You should always be ready for the problems, solve problems to come up. That's not a bad thing. It's actually a pretty good thing to have problems come up. We'll see what we get here. And it looks like based on what we accomplished, we got a pretty clean Boolean mesh out of this. As you can see, only 1.6 million. And that's not bad at all, actually. It's pretty clean. One of the reasons keep in mind, we are so clean on these Booleans as we were not using too many clip curve brushes which flattened and create excess geometry. So that plays a key role into that. Finally, now that we have what we want, Let's turn some stuff off. This is the main mesh that we want. As you can see, there's the detail right there. Let's just turn that off. Let's turn off. All are Booleans as well. We don't need to have these on anymore. We already used them. And but we need to have our connector. So we can see. And this was also brought in, so we don't need that anymore. That was also converted through the Boolean process and brought in. We don't need these Boolean sculpting pieces. We do need those wires. Now let's go ahead and append that Boolean piece. And that is our Boolean piece. And now what we have is a pretty clean mesh here. All are Booleans are done, all our cybernetic looking eyes are done. Now, I'm just going to take these three sub tools and that is all that's needed. Because we don't need the Boolean sculptors. We don't need the pieces we created sculpted Boolean pieces off of. We just need the connector, the connector holder, the wires, the main eye, and the spherical tubes, which were also dragged into the new Boolean operation. We just need to go ahead and combine them as one tool. And that means merge, merge down, Merge Down. Finally, we're going to be hitting Save because I like to play things a little bit safe. And then most importantly, hit Export. I'm just going to say ever noetic. I and I'm using OBJ, so that's all I need to do. And we're just exporting that single piece. And then finally, when we bring our helmet backup again, we're just going to import this cybernetic I as an OBJ and, and simply append that onto the face plate. Physician it with the gizmo manipulator. And it is as simple as that actually. So that completes the cybernetic. I hope it was useful to you. Remember, you can make this look better. This was done actually really quick. This was done in record breaking time quick. So please take your time with things like the wires that go across, that wrap around the main cylinder connector. That is a big, big, big cell point right there. And remember if anything went wrong in your Boolean operation whatsoever, We did do a tutorial about correcting the Boolean operations when they fail. When we did the first Boolean operation on the helmet, which is a couple of few tutorials back in the second section, I believe. So. If you have to review that, then please go on ahead. Will have many more chances to problem-solve Boolean operations coming up ahead. Thank you for watching. 29. Recap And CheckList: Okay, welcome back. We are now starting a new section. And this section is going to be about detailing the top of the head here. As you can see, this is where you should be at, at this point. And what we're gonna do in this specific section here is you're not going to be going over anything new, but this is going to be just covering review ground on where you should be at, at this point in the game. Now, so far we have done three sections. One has been about blocking out the main helmet here. And then the second section has been about detailing the face plate. And then the third section was about creating the cybernetic I. Now with that, I should be a different CTL file as reviewed before. And that should have an exported OBJ which you can bring into this scene if you want. How ever though, I'm going to go ahead and not do that just yet simply because I'm still going to be working in this area and I don't want to bring my eye piece in. I'd like to keep my scene low light. Having said now all of that, we're going to also say that your sub tools should now be actually in three. And if you're at a point where you're saying, wait a minute, three sub tools, that's a bit knew what happened to all the other countless sub tools. Well, well, let's just review here. Everything on here that I've made is been baked down to a Boolean piece. So that means that I did a make Boolean mesh operation that compiled through all of these areas here, all around the areas side, and all the areas that come in through here. I also, for the second section detail when I applied, as you'll remember, when I applied the custom Booleans, I made it Boolean operation there, and I made all these Boolean operations here. In the end, the only three sub tools that you should have are the the cameras right here, which we can just toggle on and off. The blades that are off to the side here, which you can toggle on and off. And then of course, the the main helmet, as you can see right here, which you can toggle on and off. And that's about it because everything else has been made into a Boolean operation. So we're starting fresh after doing that. So if you haven't made a Boolean mesh, please go on ahead and do so. So you can get to this point before beginning detailing the top of the head. Now, having once against said that, I'd like to take a little bit of a moment with you to just talk a little bit about errors and problems. I know I've read visited this when we were doing a make Boolean operation to the face Plate here. However, when I-I wanted to go ahead and talk about different areas in which you might have a problem in. So if you ever come across the scenario where you are doing a make Boolean operation and you get a fail on there. There's a lot of different things you can do. Even pixel logic has their website, even has a tutorial that covers the basics on how to fix Boolean operations. And that usually starts with when making a Boolean mesh and it fails, it will create that sub tool up here. And that's where you're supposed to go. And finally, after you click on that second failed area that you would want to go to render. And then of course, go through and find render booleans and then enable Live Boolean, and then start with Shoko planar. Once you toggle that on, you collect on next, which will cycle through years first sub tool that it's having issues with. Remember, this is your on the tool set that is generated after the fail Boolean operation, you're not on your original tool set. It should create a new one right up here. So when you and going through Render, and you're going through all the show co-planar tools usually in Shoko planar issues, it's a matter of readjusting and moving the Boolean sculptor sub tool around two, you lose that red edge trim that gets visibly seen when you turn it on. And of course, then when you're dealing with show issues, you this is now a different issue that you go through once you're done with the show co-planar, where you're going through the same process again, you're hitting show issue. Then you're going through next. And then you're going through all the Boolean sculptors that have a problem. Typically, as I say before, as they say, even in pixel logic, going through and just hitting under sub tool geometry and DynaMesh and hitting project and setting your resolution to around 6800 just to be safe so you don't lose any resolution that usually can fix the issue. Now if you ever are still encountering issues past that, then my suggestion to you and I've fought with this myself, is to go through and isolate the one Boolean that is giving you prompts that's preventing all the operations from being carefully created and figure out what it is about that particular Boolean sub tool that might be giving you issues. I remember when I did this, I found out that my customize Boolean within side of it had some non manifold geometry that I could not see. And even DynaMesh wasn't doing very good. So I had to find where the non manifold geometry was on the Customize Boolean. And then I had to cut it off with a trim curve. So you will find areas where you're going to have to troubleshoot even beyond the standard areas. So again, this, there's a lot of documentation on the web on this, but really take your time because this kind of stuff is the problem-solving stuff that makes, separates the, you know, the beginners from the experts. So try to take your time. You want to don't go any further until you have these three sub tools. Which means that you have to do a Boolean operation that compiles that with three things mainly checked on your sub tool. All the sculptors used to create this, including the customized sculptors. And finally the outer face plate as well. The, having that visibility turned on, I kept the visibility or I kept this blade on a separate sub tool, so I just turn that off when making my mesh. And that way I can append it in separately. I will reiterate that having this piece here that you see has to be on its own separate sub tool. Okay, so keep that in mind because we're going to be working with it by itself. Same thing with these pieces here. I, that's just for show for me, but that's just you don't have to have it if you want to include it in your Boolean operation mesh, that's fine, but I just turn the visibility off when I did them make Boolean mesh so that I can have it as a separate sub tool. So before going any further, tried to get to that point and deal in the next lesson, we're going to be covering how detailing the top part of the site by helmet, like 30. Detailing Top: Okay, and welcome back. We are now starting the first phase of creating this little block out piece here of detailing the top. What we're gonna do in this area is again, we're going to just simply paint a mask, extract that out, and then turn that into a Boolean mesh. Nothing we haven't done so far, just sort of reiteration and practice to doing the same thing for repetition. So again, this is a simple process. We're just holding down control, making sure that our stroke is correct. And while holding down control, we're going to be painting our mask. Now, don't really be concerned about what the shape of this mask is, because in the end, I'm going to be changing it in cleaning it up through the process of trim curves. So it's not really going to be too crazy. It's just going to be something along these lines. And then for an extract, probably going to be working with a 0.099 thickness for it. Again, extract is located under sub tool in the sub tool section, it's just under project, the last piece there. And you'll get your piece projected out as you can see right there. And that looks good for me personally. I'm just look on the other side here and I'm fine with that. Hit extract. And then when you like which you'll see you hit the Accept button creating a new sub tool. And with that, we can now work on cleaning this little piece up for our needs of having a Boolean sculptor in place. It's just going to turn off all my sub tools here and just work on just cleaning this up, cleaning its edges up. To do that, I'm going to hold Control Shift, makes sure while holding Control Shift, I have trim curve there and it is. So now I'm just going to again hold Control Shift and draw some clean lines around here again. Just like that. Now if you forgotten already how I'm creating that curve, they do explain it. In its tutorial. It's just the matter of creating a while holding Control Shift and then tapping to drag out a curve. You're able to release control shift as long as you still have that curve held down with the WACC, a mouse or the pen. And now that you have a free hand from the control shift, you just simply hold or tap Alt and that creates your Bezier curve like so, so case anyone's forgotten it. That's pretty much what it is. Easy-peasy pretty much. Let's see. I'm just working on creating simple, clean shapes here for my boolean sculpted piece, maybe adding a little bit of a subtle curve. Just a very subtle one. Really too crazy. Flushing out the details like that. And again, if you're wondering why I'm doing it like this and not doing the the clip curve. There's no, I'm not going to braid in say don't do clip curb, don't do clip curve. If you wish to do clip curve, that is your prerogative. It's just that we need to make sure that when doing the clip curb brush that we don't create any non manifold geometry that loves to come up and give us hassles. That's the case. No matter what. Take that folded space of flattened out geometry and cut it off with the clip curve. So, alright, so now that we have our piece, I can probably do a few things with it. I don't really need it. No, you're not really going to see that part. Would you want? You can always go down and you can try to DynaMesh this as well. Happy with any of the sides. I'm not going to for intensive purposes, I'm just going to use it like this. Now even though we have cleaned up our mesh, doesn't mean we're done with it though. We can still do plenty of things with it if we wish. But I'll show you what I mean here in a sec. Now, what you're looking at right now is me trying to create a cavity to fill stuff in to this piece. And I'm also going to be using the Move tool to manipulate and work around this piece to finesse it around. And so that means holding down or pressing B and finding the move on that and finally making sure to draw out my draw size so it's a little bit bigger that way I'm not holding anything down. So I can form. I'm just doing small movements on this one. That seems to be a little bit more into the area which we want to see. Right. Now. Let's go ahead and make this a little bit interesting or that. And from this angle, I'm going to actually rearrange the orientation of my rotational value so I can get a certain specific view. That means I'm with gizmo turned on. I'm unlocking this piece right here, which allows me to fiddle around with manipulating the orientation of the gizmo manipulator as I see fit. And then again, locking it backup way. I can maybe just experiment with finding a angle at which to make this. This is again about finding your shape, finding what works for you. And as you can see from here, I kinda made a sort of slight 35, 40 degree angle into this piece. If you can do the same, that be great. If not, don't worry about it. It's not a big deal. It's not the most essential thing. It's just sort of like my personal touch on the issue. So this side is going to be a lot deeper than this side. It's best you can. In any event, we're still going to be putting things in here. So that works pretty much for me. I'm, I'm okay with that. So now that we've done this piece, let's go ahead and finish up by duplicating the sub tool. And remember, we don't have to worry about divisions, there are none, so we can go straight into deformation and mirror it over. And again, finally, converting that duplicated piece into another Boolean sculptor. And that will be the first phase of our peace. As you can see, we're going to, in the next tutorial, we're going to talk about what it is we're filling in here. And that means if you haven't guessed it, a little touch up, review on array meshes once again. 31. Creating CYBERNETS ARRAY TUBING Part1: All right, welcome back. And as you can see, we are on the next tutorial here. Let's just go ahead and just dip into this and get started. Last time you saw us, we were at a point where we sculpted in our cavity for the top part of the head here. And as you can see, that should be where we're at right now with this tutorial. If you haven't gotten there yet, please take your time to get there. And first thing is first these two Boolean sculptors that I got. I'm going to go ahead and merge these two and down like so. So I can just keep the sub tools organized and minimize to too many. I just want to just lower the number down to keep things less confusing here. So underneath merge and we'll just simply hit Merge Down. Good. Okay. Now from here, we're going to create some pieces of art of like mechanical detail and two beans that will come into here. And to do that, we're going to take an approach similar to to the creating the cybernetic connector that connects the eye to the helmet. So for that, let's just go ahead and come up to the upper right-hand side here and just click sphere 3D. And then click on tool and find ourselves a cylinder 3D to work with. Remember he or she be able to sculpt on this yet? I'm thinking we'll just work with actually, we'll just work as it is. I'm not going to work with any initialize or anything like that. So I'm going to make this into a poly mesh 3D up here on Tool upper right. Now, when we have this, we're going to take an approach a bit similar to how we made our connector. It's just creating one piece and applying it into an array mesh. But I'm also going to be reusing it for other purposes. So make sure to save this one piece out in the end. So to go from there, I'm going to hit Command D or Control D if you would like, like to clean up this top here. So for that I'm just going to hold down Control Shift and then come up here to the left-click, you can find sculpting brushes. And I'm going to work with the clip curves. We're pretty confident we're not going to have anything, any problems with the manifold geometry since it's not going to be turned into anything too crazy for a Boolean. And now that I have it flattened like the, I'm thinking I'm going to hit the B key and go into my insert mesh primitives. Once up there, we're going to hit the insert Q. And I'm going to press, if you can also hit the M key, Press and highlight the insert cube. And of course, make sure to turn my transform so on. I'd like to get some radial symmetry brought in here. So I'm hitting the X key and I'm only on just having a X and Y symmetry, so I like radial. So to do that, again, we come up to Transform. And I'm just going to dock it over here. Make sure radials turned on and it's still on the wrong access. So like to make sure it's on the correct one by disabling x symmetry and turning on why symmetry. Feel free again to pause, going a little too quickly for you. And then from this point on, we're going to be just drawing in like we did before. Cubes. Of course, when we drew those cubes in. We also, if we're whenever working with any insert mesh, obviously we have to delete the lower geometry and I always forget the micelle. So as you can see, I drew in those pieces with the W key to turn on my gizmo, I'm just going to move them right down here. We're eyeballing it roughly in the center here. Now, since these are all pieces that are still a part of one sub two on There's a mask already on there where the job is done. My goal is to split these cubes off of the cylinder, just like before. So we're going to go ahead and hit split unmasked points. And fortunately, we have our own little sub tool for these AQ said have been drawn in. And we want to turn these now at, you haven't guessed it into Boolean sculptors. Now remember, this is going to be my pattern that I make. You can make your own pattern at any point if you feel you want to bottom or you can follow along. But I'm just gonna kinda show you mine. You see, you can always flush out some interesting details. But try to remember. This is not a good thing. When you're scaling. And you're trying to manipulate all of them at one time, as I've said before back in the connector, you're going to have local cemetery turned on so that we can get everything scale its own local place. And not in world mode. It's going to help us a lot. We can create a lot of interesting pieces to it that way. So for me, I'm just gonna kinda say that works out just fine. Maybe just angle that out a little bit. One thing I'd like to do though, is I'm going to take the cylinder and I'm going to duplicate it just once and move it below. So it does not get affected by the Boolean sculpting piece that I made. And then with that cylinder selected, I'm going to, I don't need to worry about the symmetry on this. I'm just going to hit X to turn off the symmetry while all my lower cylinder piece here. And I'm going to center it back in the middle way. I can create. Yet again another piece. For that piece, we're gonna do one more thing. We're just going to sort of repeat what we did here. But it's going to go upon this piece right here. So make sure whatever happens, you're doing it below these two Boolean pieces. It should only affect this inter, inner cylinder. So once more, going to kinda bring it up here. And you know, I'm actually noticing that a slight slant there. So let me just correct that. There we go. Now it's a little bit straighter. Going to once more. Just like before. In x. Draw in as best as you can, eyeball it. Blue cylinder ones and you haven't guessed it, we're going to be turning again just like these into Boolean pieces, which means of course, separating these off into their own sub tool. So that's going to be again split, unmasked just like before. And with that builds visibility on both of these have been turned off. We're going to cycle back down. And then just merely going to eyeball this up. Turn this into Boolean piece. This is a Boolean pea soup your own. So remember that. That means that you can do one with a, you don't have to necessarily copy my pattern. You could make your own pattern because that's pretty much the most important thing to take for about booleans is that they really do. You really can flush out a lot of unique shapes. I'm just showing you an example of one way you can go about this. That's why again, as I've always kept saying, understand concept, not necessarily mimicry of what I'm doing. I'm just giving you an example of one way you can do this. So holding Shift example, you can push it even further by holding and troll. And just as you hold Control, tap on the Translate. And now I've just duplicated the National Partner right back in where it was. And now we have two pieces. They're kinda occupying the same space. So I'll just shrink that back down. And then I'll just punch that even further in, making sure that it doesn't conflict or anything like that. And you can already create something else. And that's the idea behind it, all that's needed. You can do so many things as long as they understand all the tools and the quick keys behind them. So having said that, I'll go ahead and we could do it like that. It's kind of an interesting look. So let's go ahead then. And we're going to try to keep these two pieces. We're basically just going to be doing a Boolean operation here. As we show. Make Boolean mesh shouldn't really be dealing with any kind of chromosome that came out Greek. So polygon count isn't too terrible on it. But as far as we go, we could have done it all some on this side too. And if you wanted, you could have just duplicated those two Booleans inches simply, just like with deformation do mirror, but makes sure that the mirror is set to the y only access. And you can get something does exact same thing over here. I'm not going to waste too much time going through that because I'd like to touch base on the next part of this phase, which will be to create an array mash out of it and stay tuned for that. 32. Creating CYBERNETS ARRAY TUBING Part2: Okay and welcome back. This is Part 2 of sort of creating that cybernetic tubing array that's going to be filling in on a cavity of our piece. And with this, we're going to actually be working on a couple of things. First of all, we're going to need to do a couple of checks off. And one is, is this I'm going to create a tubing on this, but I'm also going to be creating a duplicate to make this singular piece habits own unique purpose. To do that, I'm going to come over to the right side and duplicate the mesh. Now, now that we've duplicated out, I'm going to turn off the visibility and you're going to see what I do with that later on. The next thing that I'm going to do is going to actually be a tricky thing. So tricky in fact that I'm going to be telling you again to stop what you're doing and hit the Save As button. And just hit save, whatever it is. You don't have to title it. Go through quick save, go through Save As just go through everything and save it. Make sure everything is in place and saved. Because this next part coming up is going to be working with array meshes. And as we remember, array meshes are working with instance geometry. And instance geometry is a very common place where crashes occurs. So it's sort of going to be a dangerous, dangerous zones, sort of areas. So I would like the whole everyone that's watching, you just get ready for a crash and be ready for the worst. So hit Save, hit quick save after you do that. From there on, only do Save As it's through here. Never do quick saves. In the middle of instance, geometry that shows up because it has happened before. I have had my own memory set, even straight up to a 4096. A lot of quick saves enabled or stored up here. I have actually a small amount, so I'm not really taxing my memory and I still find those. So let's just go ahead and just get that through as our first part. So now that we've done this, this is going to end up looking very similar to the connector in a certain phase, but it's going to break off to a different variation that we're going to show you here. And that's also to illustrate an example of just how far we can go with taking one piece and manipulating it to look in different ways through, thanks to gizmos 3D to former. So to start off, let's just work with array meshing gets, get this show on the road. So I'm going to go on and find array mesh which should be just below the geometry. And geometry is below sub tool. And that's going to be right here. We're going to activate this out as an array mesh. And then I'm going to start working with my the offset you should try looking for and find where y is. And then with the slider kinda toggle that into the negatives so you can bring it up point. You're probably thinking where we go from here. It's just a matter of going above OS offset until you find repeat here, the repeat count. And again, we're just going to be working with something along those lines. I'm pretty happy with that. I don't need to work with any of these deformers. I'd like to stay away from as much as I can because I tried to do as little time as I can around instance geometry. Ideally, I would like to turn this into a poly mesh, but in the past I have seen issues come up where you have to be careful how you work with array mesh. Sometimes it can give you some tearing that go around and it looks like it didn't do that. However, I'm going to warn you if you ever make anything and you go through a ray mesh and it gives you a new tried to convert it into a sculptural piece of geometry under the Make mesh inside the array mash tab. And you get some weird results. And you don't like what you're seeing and there's tears and polygons popping out and everything were everywhere. Just go ahead and convert it to a nano mesh. And from nano mesh, go under the inventory and find 12 mesh. And that should help you right there. 12 mesh under nano mesh really works much better and it's conversion. Okay, so we're kind of out of the danger zone now. I know I hiked it up a lot, but don't worry, we're out of it as far as where we want to go. Here, I'm just going to toggle the RTP, or it could be WE either way it brings up the gizmo, going to center this with the teardrop, where which means go to unmask center. And now I'd like to sort of flatten this out. Like so. And I'm going to stretch this out. And that's what your goal is. You're trying to get sort of like a relatively flat mesh. And you wanted to look like that. And if you remember back in the connector tutorial when we were trying to remake this, we added a couple of cylinders, which we're going to do as well. And that's just simply hitting the append under sub tool findings cylinder 3D. Clicking on it and you should find it right there. Let's click on it and the sub tool and hitting W, we're going to bring the gizmo all the way in the middle. And once again, we're going to stretch this all the way out. Like so. All right. Now I don't want them jutting outside, but remember, just because that's my that's my style. Doesn't mean it has to be your style. Just this could even be something cool right here. You could make detailed this circular tubing out because you're at a point right now in the tutorial where you know enough using Booleans to make very cool looking pieces. Including using, for example, the tutorial of using Projection Master to draw lines of cool indentations. You can do that if you want. I'm not going to, I'm simply just going to be and hitting in, scaling this down until it fits right in its center with a width of about that, making sure it doesn't protrude out and once again, scaling out like so. I'm also going to the lowest subdivision because it's not necessary for me. I don't really need anything like that in my process because all I'm gonna do from this point on, since this is again a piece that is going to be bending and contouring. I'm just going to convert it into a DynaMesh, which is again under Geometry, DynaMesh. And I don't need a crazy resolution. I don't, we're not going to see too much of this cylinder is just sort of Rochelle. I didn't know. So I set my resolution to 80. So no big deal. Nothing too crazy. Now, you could duplicate the sub tool if you want. I'm not going to I don't find it necessary. I'm just merely hitting Control. And from there we're just going to toggle with the translate to just duplicate the mesh instead of the sub tool. Again, that's about what you want it to look like. And again, we're going to do it one more time holding control and then toggling the translation in duplicating the Mesh, not the sub tool. So you can see there's some masks there, so I'm going to clear that off. And now at this point, you should have on your sub tool palette, a single piece of this mesh right here should be not bent into a oval at all. It should be a cylinder in nature. Just going to turn that off. And I'm going to turn that off and also I'm going to merge that down. So it doesn't get confused. You should have your array mesh that has been converted into a poly mesh by now. And then you should have the three cylinder two beans like that, I can see are already a little bit all phone spacing with one of them. Or we go to work. Like so. So I'd like to go ahead then and just merge these two sub tools down. The array mesh that I created and the three cylinders that I added within it, which is going to be merge and merge down. And now for the last phase of this, this is where we get to work with ZBrush is for RA tools just to add a little bit more to it, just to finesse it and get a bit more of a interesting shape out of it. So I'm hitting W. And then I'm going to go into this COG wheel where it says customize on the gizmo manipulator. And then I'm going to look for all the transport types. And then I want to find and paper right below the former to the right of multi slice. From here, we haven't done too much on taper. And it's actually going to be a new one for us. But to give you an idea, it's simple as this, this piece makes it shorter or I'm sorry, wider. This piece makes it narrow. So let's go ahead and make that a bit more narrow. So I'll turn off the visibility of our COG. And this piece. I'll want to make work like that. And if you want, I'm gonna do this for my own personal choice. You don't have to do this part. But you can make it look almost interesting in cybernetic in its own nature. You can really push things out. I'm probably going to be a little bit more subtle than that. But that could be where I want this piece to go. So after that I'm going to hit Accept. And I'm going to work with saving this piece out now that I'm done. Yeah, that's fine by me. And that's going to be our fill in tubing that we're going to add along with our single cylinder too. And I'll show you where we go from there on the next tutorial. 33. Applying DetailingCybernetic Cylinder: Okay, welcome back. We're now at a point where we can bring our two pieces of mechanical detail, this little cylindrical tubing that's going to fill into the gaps of our tube, which is right here. So let's go ahead and just bring the men. But first, just a quick checklist. You should have two sub tools. One should be this piece right here. And then finally, this cylindrical single piece that has not been squashed at all. So to do that, let's just go to our tool that has the helmet. And I'm just going to go back to append and turn that on and find our tool up here. And we'll start with the first one, which is our cylindrical tool. And that came in. So we're just going to first before anything we can see our pivot point is changed. So let's go ahead and center that backup. So let's just click on our teardrop here, upside-down teardrop as I like to call it. And I'm going to move that off to the side and scale that down. Now that that's taken care of, let's get the next piece on. So I'm just going to click back here and get that. Make sure you're on the correct sub tool when you're switching. Finally, going to append. And now I have that both in place. Now you should have them all in there just to be sure to get these scaled in. Like so. I'm going to rotate this 90 degrees and then once again 90 degrees this way. And then scale like. So. Now from this point on, we're gonna go over to R sub tools. And what we would like to do is create four copies of this particular sub tool of this mechanical strip that you're seeing right here. So to get four, I'm going to need to duplicate it three more times. So 1, 2, 3, and we should have four of them, turn the visibility on, all of them off. So we can just work with one at a time here. And what I'd like to do is I'd like to take this piece here and put it in there. And we're gonna put three of them in there to be exact. Before we begin. Let's just go ahead and work with I'm going to thicken line out a little just before starting. And I'll, this is going to be, is basically using the gizmo 3D tool to position this through a combination of rotate and translate. Like so. Now, if you're, remember this is the default place to have it. You can scale this in like what I'm doing right here to make it fit and that's perfectly fine. It's just whatever you need to do to make it go in there. Now, at this point, you're going to need to do a little bit of bending to deforming using the gizmo 3D to former. So that's basically all that is, is just go into the COG wheel here on the very left of your menus and the gizmo here, and finding customize. And let's just start with Ben dark. See if we can get something out of that. With bend arc, we just get ourselves into sort of a view that we can use and make sure we're toggling the green cone and just going to put it out like this. And as you can see, we're already getting kind of what we want. You could play with it if you want. And you could, you could create some interesting shapes again with bend arc. Not going to do too much on it. I'm going to keep it right about there. And of course, push in that as far as we can. And let's just see if I can work with sultan with that. So clicking on the Customize again in the gizmo UI, I'm just going to hit Accept and see if we can work with getting this all positioned a little bit more. Now, keep in mind, if you need to use other brushes, please feel free to do so. There's no science and some not. Don't try to do a perfect exact. A step-by-step scenario of what I'm doing. If there's some net year, it's a little difficult for you to get exactly as you want. Feel free to go off of the tutorial and use things like the Move brush or the snake hook brush. I don't really recommend that one, but if he, if that's what makes things easier for you, go for it. Alright, now, as you can see, we are a little stripping here, so I'd like to make sure everything at a heres into the cut in place. Notice also that there's a Boolean that's cutting in here, but it's not being affected here. And again, that's because our sub tool is below the Boolean sculpting piece that we have. Just one of them to make sure that was reiterated. So holding down Control Shift, let's go find a trim curve. And is where we want in a once again holding down Control Shift. Just going to do a little cutting. It's a little 2D z out and try that again and control. The trim curve here is just mainly be used to sort of keep things in play, keeps things from going outside of this barrier here. And that's just sort of where I'm finessing things that I know there are some excess geometry out there and some here. No big deal. Just need to make sure nothing goes outside the tool shape. You see? Now, having said that, I'm going to now turn in, turn on my second piece. Or if you could theoretically work with a piece and hold Control, you could duplicate things around. I am going to do it a little bit like this where I'm just rotating it. So it's sort of kind of stemming and branching branching out and going to tuck it in like so. Just kinda tuck it in underneath and as you can see, just sort of eyeball how you do this. Also, not going to do too much craziness on this. I'm just going to hit the B and then go to move with a big enough, make sure your brush is fairly big and just push that down underneath. So it looks like it's a little bit tucked in underneath the first piece that we've made. Like. So. Now if you want, you can do the same thing once again and even scale it down if you even want. No rule against that. Probably it's just your piece, so however you wanna do it. But in case we're forgetting, I am using just a matter of just holding down control while the gizmo is activated and just toggling and translate button to duplicate that mesh. So of course I'm going to use the trim curve to a once more to trim out those pieces. And of course, this one likes to be a little bit longer actually. Oops. There we go. Make sure to clear your mask when you're doing trim curve slice like that. Sometimes it can be a little crazy. And lastly, I'm just going to once again do a little bit of finessing and draw some pieces out there. So you should have something along the lines of like that. Again, I'm just duplicating those around. So now that these three strips are on one tool, I'm going to duplicate this once. Because these three strips have been duplicated through control and translate, not duplicating the sub tool itself. So right now I have two sub tools because there are no divisions net on here. It's not necessary for me to delete a lower resolution. All I need to do now is just simply go to deprivation and then hit mirror. And now we have these pieces on both sides. Now from there, we're going to talk a little bit about how we detail out the center part of this mesh. But before we go from there, we're going to do a little bit of finalizing and creating some secondary detailing for the top part here, which will include a face plate and some wiring. So stay tuned. 34. Applying Wires And Plate Cover: Okay, And welcome back. In this tutorial, we're going to be doing a few more detailing with drying out some wires to these two created areas. And we're also going to be doing, working a little bit in doing the beginning parts of creating this center part, which we're going to touch base and start get a start on. To begin. First off, I'd like to go ahead and take this tool. And this tool, if you'll remember, in the last tutorial, we duplicated the sub tool and we mirrored it over. So as a result, we have two sub tools. I'd like to go ahead and take those now and merge them together because of the fact that we are going to be drawing wires on all both sides. And kinda would like to make that easier on me. We using the cemetery feature. Remember, when working with symmetry. As you can see here, I like to always make sure my local symmetry is turned on. So to begin, let's hit the B key and find our favorite wire drawing tool which has always been mined in the inserts cylinder. And remember, it's pretty easy to find if you haven't any troubles, you're just hitting B i. And then i is again for insert. And then y, as it says right here. And you'll have the quick key for that. You're looking to make any sort of memory or idea of memory for all the quick keys for the brushes. Just remember they help you out by telling you right from the start. So let's go ahead and get started on this. What we're gonna do is we're going to be drawing some secondary details onto here. But that's going to be done in a couple of different ways. One is going to be through drawing out wires through the cylinder mesh method. And then the other way is going to be using a sort of old school way we used to do wire drawing by the similar technique in creating the surrounding wires that go around the a connector that goes between the sorry, the I and the helmet. So sort of a review on that one as well. So first things first, I'd like to just kind of get a couple of pieces drawn in. Remember, they fall underneath for whatever reason you can always just, just simply go to the very edges and pull on them and they should just kinda float right, sir. Or surface and flow right to the top. Like so. And that's just tugging back and forth at the very ends here. And when you're done with each piece, always make sure to tap off to the side before starting a new draw a wire. Remember, you're not going to redo the tutorial on the wire piece for the surrounding mesh. Let me show you what I mean here. I'm going to bring up a preview. If you remember the tutorial that detailed these wires, you can also do on here if you want, in fact, home my original helmet that I did before I decided to redo it again. I drew those wires. So if you'd like, you can go back to the cybernetic I and redraw out those wires and maybe be a little more subtle and straight with the deformer of the gizmo. And then using the gizmo you can manipulate those tools. I'm not sure if it's a 100 percent necessary to read demonstrate because it's sort of a self-explanatory thing. You just simply draw it once and then just simply go through and move it right to where it's going to be. In any case, you can see this big plate here is sort of covering up all of it. So this is what you do on the center isn't as coordinates, what's being shown on the outside because this plate is going to be covering up a lot of it. To stub, bear that in mind. Go in and once again delete my curves so I can keep going. So again, that's reiterate. Reiterating that. Feel free at any time if you want to draw those same type of wire surrounding the connectors, those very thin ones that get extracted off of a polygon 3D plane and then turned into a DynaMesh with a reasonably low resolution. You're more than welcome to. The only reason I don't do it because I feel like it would be getting a little bit too redundant in the tutorial. So I just wanted to kinda keep that in mind. So all right, here we did. We got ourselves a little bit more detailing in the wire. Now, all that's really necessary. What I'm going to do next is I'm going to create that plate that you saw and just kinda cover up that area. To do that, I have the piece of the original Boolean sculptor that I made when I cut it up. And if you remember, that piece was used as well. Let me go ahead and just switch to the sub tool here. I'm right now on, I'm on my Boolean sculpting sub tool. If you can look at that right now, I re-formed and shaped it once I put it down there. So it looks a little bit different than its original form. So I'd like to go ahead and work with this piece. And I'm going to duplicate that mesh so I can see it and it's right here now. It's in its mesh form. And looks like it's not being too terribly affected by anything. Might want to work a little bit of magic on this. I only want one piece here. I don't need both pieces. So to do that, I just can simply hold down Control Shift and come up here and look for my select radical. And just while still holding Control Shift C where the green square is, as long as I have it held down on my WACC and pen, I can release now Control Shift. And then I'm holding Alt to turn it into a, a piece. And now making that disappear. Since I'm only working on one side, I'm going to go to geometry and modified topology and delete hidden. Because what I'd like to do is I would like to take this piece and turn it into a little bit of a plate. That's gonna go right here. It's going to just sculpt right into the mechanical. It's just going to be sort of like an overlaying cut piece on once again, it's not matching up exactly. So as was before, I'm going to use the move tool to work with my piece and try to get a fair and adequate shape. So that means hitting the B key binding Move tool. Once again, I'm already mom matching things up fairly well. Now I'm going to be a little bit of a stingy person. I feel like it's a little bit off and uneven there. So here's what I'm gonna do. I'm going to work with my deformation. I'm gonna see if I can smooth this unevenness out a little bit. Maybe I can do it right here. Do Polish by features. Now this is going to kill my edges, but that's our eye. It's not really doing too horrible, a good job. Finally, I'm going to rework my clip curve. Again. I'm going to cut, rid, cut these pieces. Recall that the edges out here, since a Morten with clip curve, like to go ahead and just simply, I know the Boolean sculptors going to get in the way here, but, whoops, I got to switch back to my trim curve. I've been saying click curve. I've been meant to say trim curve, like to get a very fine. Straight line here. And then I'd like to reject that line out. So it's a little bit more smoother and consistent in its arc here. Let's turn translate off so we're seeing what we can here. Remember when I'm pushing out like that, I can try to remember holding Alt always pulls while hitting the move tool, always pulls things towards you on the screen view. Not something I mentioned before, but felt like it probably would be hip relevant to bring up. See right now I'm actually using old back and forth between pushing and pulling. And of course using trim curves to basically get the edges consistent in there with all around. So this is not like an exact science. What I'm doing here. This is just sort of you try and eyeball it and make it work way you can. Alright. And then after you have that, going to go ahead and go to sub tool. And actually I'm going to duplicate the mesh but not duplicate the sub tool. So that once again means holding down Control and clicking on and translate to get it to pop up. And I'm going to scale it down like so. Since the rotation values a little bit off, I'm going to have to actually eyeball it with the corner translates. Instead. You have something along the lines like that. Now, finally, to do a little bit of finishing touches, I'm going to add a insert mesh of a cube. So that's going to be brush I. And then finding our insert primitives. In this case it's t. And we're making sure insert cube is, they're going to essentially just be drawing out a cube straight along this line as possible. And if it's not straight, don't worry, you can still just hit the E key or the W key, whatever brings up your Gizmo tool and get it into place as best you can. Like. So now, one thing you may look at is as you may see, the wires are a little bit jutting outside the hole. That's not a really too terrible of a big deal because of some more gonna do here pretty quick. After I finish this cube. Right now. We're going to go ahead and split that piece off. Since it's masked, I'm just going to hit split unmasked because that is the piece that is split unmasked. The visibility got turned off. That's why it's not there. And oops, there we go. I'm just duplicating the mesh. Once again. Duplicating mesh because this is also going to be its own unique little boolean piece right here. Doesn't look quite straight, don't worry, you can just simply go about in trying to use the gizmo tool, either on the XYZ rotational axis with the perspective of rotation, which is this white outer, outer circle here. We're going to hold control now and do the same thing once more. Little bit off. So let's tuck it in just a little bit more since angles a bit all we got ourselves a little bit of a piece there. I'm gonna do a little bit of more finessing on this. I think I'd like to flatten this out a little bit. It's now just a little bit for me. And I know that will ruin a little bit on the the sub tool. That's no big deal again, just merely go in there and try to push just push it and just a little bit to get it a little bit deeper. No biggie. Now, lastly on this, I'm going to push poll, I'm sorry, pull out on the tool. Don't forget to clear off the mask of the first Boolean you got. And I'm holding again all to pull this out. But when you're holding Alt, remember you do on one side. So make sure you're hitting X here and we're just going to just tuck this out a little bit. And if you see the wires on the outside and you're not happy about them being just cut off there. It's just a matter of reorganizing some things. It's not a big deal. Hey, you could just do it anyway. You want, you know, you just kinda move the sub tool down or underneath there so that they kinda gets look like they're going right into the edge is there. So it's no big deal. So now the next step is you're going to want to duplicate this created mesh over to the other side along with the Boolean sculptors. Alright, and that will conclude this last part of the detailing. We're going to then work on the center here and show you what to go from there. Thank you. 35. Applying Spine To Center: All right, Welcome back. We're going to now be doing some detailing in the center here. And for that, if you will recall, we duplicated this tool a couple of times here. So let's go ahead and get this all positioned here. I'm going to hit W and bring up my gizmo manipulator and just sort of move this as best I can in the center here. And also I may work with my taper because I'm going to really bend this down with the bend arc, but I don't want to see this stretch too far out. So let's do some experimenting here. We're going to work with taper to not, I'm sorry. I think now let's say I think it might be taper that yep. I'm going to actually work with taper to tuck some stuff in here. See if I can get a sort of counteracting the stretching that's going to occur here. Now I went to my bend arc and just simply trying to put my mouse right over the green cone here is it's facing me and I'm dragging it down. Make sure when you're doing this, you're snapping on the ortho to the side there. And tapers not actually behave in the same way I wanted to. So we're going to have to go back on that one. Was good taper to where we want it. Worry about this and result here will be cut off or inserted inside to the mesh. So I'm not too worried about what's going on in the end here. And let's go back into our bend arc. Right there. Remember you can have all sorts of results. And if you don't like what you're looking at, you can always just go back to the beginning here and just see out. But to reiterate what we're doing here is we're trying to put this strip right into the center of the top of the head. And the one I go ahead and say, if you have to make adjustments on this, go ahead and feel free to make adjustments. I'm gonna make a little bit of my own by shrinking this in just a little bit because I would like to see a little less stretching. So I'm going to try to shrink this down along. For me, it would be the scale y. And I'm going to reapply that Bandar can see if I can get a little bit better result. Not the orange. There we go. That's a little bit cleaner. Don't bend it too far in because we'll just be touching, touching this up again through the Move tool. So the move tool sorted going to act as our main method in how we get this piece situated into the mesh. So as you can see, it's already looking like it's going to fit in reasonably well. We're going to do some touch ups on this through the Move tool, which we're going to be hitting B, m, and V for quick keys. And also make sure when you're using the Move tool, you're moving both sides equally. You have local symmetry on so you can turn on your x symmetry key. And again, with Move tool, we want to have a nice big brush. Don't want to have too small of a brush or else we'll create some unusual debits. And the move tools just being used here simply to work in some areas. And it's sort of like touch ups. Right? That is about how I'd like to see that slowly shrinking it. Perfect. Now, if you also recall, I had this piece as another piece I'd like to use and we're going to be using this for the mitigating circumstances of fitting in here as well. So again, we're going to once We're going to be getting our practice in with Move tool and gives the gizmos manipulate or move tool. And as you can see, I'm using the outer ring, outer corner box here to do perspective translate movements. Now working with the directional accesses, but free roaming it out here with movie screen. So it's just going to be positioning this here, scaling this just about out a little bit. And then once again, bringing this so it kind of flattens out just a little bit more. Good, good. Do this one more time, but a little bit more. And do it like that. I'm just going to be duplicating the meshes across like so. We're going to be coming in again. This is a little bit more adjustment here. There we go. So all I'm doing is holding control and doing, doing and translate to copy out the mesh. Again, not the sub tool. And then just scaling it down, moving it back, scaling it down, move it back. Just sort of repeating the process until it goes all the way to the back there. We need to worry too much about that. So we can see. That's about where we want to make it look. From there. We're going to want to do one last thing and that is create a Boolean that cuts straight in the middle of this piece like a cavity. So for that, we have to first of all decide what our Boolean meshes going to look like. And for this, I'm going to work with something very basic and simple, not going too far crazy into it. I'm going to go in and I'd like this to only affect the helmet. So I'm going to put a Boolean in and make sure the Boolean goes just under the sub tool of the helmet. That means a pending in hitting cube 3D. And then we're going to turn this cube eventually into a Boolean of its own. First off, I would like to divide it a couple of times, actually two or three times. And then I'm going to bring it all the way to the top and then make sure it goes right underneath. Here. You have to, if you want, you can always just simply cut this piece up to your liking. But to sharpen out the edges, I'm not going to work with that just yet until I know exactly where I want to cut through it. So to begin with, let's just start, just get into it and let's just see if we can make something interesting out of this piece, which will be the next tutorial. 36. Finishing Center Detailing: Okay, and welcome back. We're now going to do a little bit of a cut hole right in the middle of this spine here. So to do that, we're going to use this cube, which I positioned just above the helmet. And it's going to be reshaped in through a combination of the Move brush and the trim curve brush not clip curve but trim curve. Actually though, I'm going to say something that's a bit contradictory in this particular circumstance where cemetery is going to mean something for me and I really do need it. I'm going to break my rules and work with the trim the curve are I'm sorry, that clip curb brush. I know it's going to create some non manifold geometry, but after I am finished with creating the Boolean through the clip curve brush, I'm going to show you how to clean it up so you won't have any problems later on. So let's just go ahead and get started. I'm going to, first of all, being the Move brush tool. I have the cube where I want it just below the helmet and that is the only thing I want affecting. So as the helmet is on the very top, nothing here is going to be affected once I turn this cube into a Boolean. So here we go. Well, it's just simply dunk it right into the middle there. And this goes back to that whole ideal sane of finding your piece, finding the shape that you want this to look like. So with that said, I'm going to be using cemetery, which I'm turning on with the ax, making sure local cemetery is on. And I am, all I'm doing is simply using the Move tool and rearranging the brush size to match in to this piece of a brush that I'm working with. It's a little bit high, so I don't really need it that at that far down, I can work with something like this. And that could actually work just fine for me. Take note of this right here. Let's look at the tool so you can see where the Boolean is. This is again me finding my shape. I kinda like how it would taper off like that. Where it has a fine layer cut. Ever going to want to see if I can. It's again all about you and what you were looking for, what you want your piece to be. That's, that's about the biggest magic of what I would say a Boolean is about. It's about what you want your piece to look like. And you, as he can see, when I'm moving this around, I'm already creating quite a few interesting looking shapes. I am already creating. And I haven't even used the clip curb yet. This is all maneuvering around with The the the Move brush. So you can see and it's the Move brush and it's also working with pressing the left Alt button to press in pieces. I mean, from right off the bat, that's about what it's looking like when I'm moving all of the surround. In fact, I didn't even have to worry about anything regarding the Move brush. Now, all that needs to really be done at this point in case anyone is wondering, is it's just going to be me using, I'm going to just sort of use of and clinical detail agreeable here to be duplicated into going into here. And that's all it is. It's sorted just sort of like a filler mesh. Just trying to get all that detail in when you're doing read apologizing. Let me show you what I mean. Let me find the sub tool in which this is all one sub tool set. Those little blades. Were you? No, sir. My Boolean sculptors. And that is where I'm looking for some. And we'll just go ahead and show you what I mean. I'm going to this piece right here, represents this piece right here. We can reuse it. It's not a big deal. It's going to be covered up. We're just trying to give that illusion of hard surface stuff that we're trying to create. So I'm just going to duplicate that sub tool out. And remember if things are getting too crazy or dicey in any way and you need to do a decimation of this particular sub tool. Go on ahead. Don't be afraid. In this particular case, I'm going to be using. What do I call it the Isolate Select to cut off half of this so that I can duplicated across closer. I guess I can use the Move tool and then just bring it in like this if you really would like. But that's the thing about the move tool is when you do that, you're kinda creating like this unusual little mesh here. However, if you are careful in how you do this, then It's always been the issues is this has always been an unusual little ZBrush glitch. I kinda wanted to show you guys all. So if you'd get it, just simply z out as best as you can. But I do have one idea. I'm going to show you one idea can do. I'm going to mask 1.5 of this out. And because I have symmetry on both sides, get Mask. There we go. Now we have a mass. Now when I do that, I can, I should be able to go through with no problem. And since this side here is very flat, that really helps me a lot. So having said that, I'm going to once again undo the mask. Of course, that's also going to be a bit of an issue. Like to center this back, but if I do that, that's sort of what happens and it's not some mung on to conducive about doing about that. Like so. And that's how the manipulator is worked. In case anyone's wondering what happened. The manipulator is just this very, very fickle thing. If you have, if the, the most unusual thing about it is as if you intersect the meshes. And I always thought that was just something that happened when you brought it into a Boolean mode. But if you actually tried to use the manipulator and insert a intertwined two meshes within each other. You're going to run into an unusual little where the meshes become one, kinda like how they're doing right now, if this was a Boolean, I would not be using it at all. I would actually try to advise you to Z back or go to an earlier file, but since this is one piece, one mesh, I'm going to be all right with using all of this. But you can kind of already see how I've made something completely new and completely different that you wouldn't pick out and say, Hey, wait a minute, this is the same as this piece. This is the same as this piece. It's hard to see all of those things. So that the point in all of it I'm trying to make is that when you complete a mesh, it's not completely final. The gizmo manipulator really can turn it into a lot of different other shapes. And if there's anything to take from this tutorial, that and how I just made a completely different shape right here out of that. So that probably could be a very important thing to learn later on or to reiterate. Just going to see if I am going to write now work with trying to create little bit more agreeable. Look here, see if I can also work with, if you want to press it a little bit further, just going with the bend arg to see if something more interesting can be applied. And as you can see already, we have sort of like a human hybrid brain that's kinda being developed here. So just take that into account when you're using this. That's sort of what's going to be intended to be used here in this section. So I hope that that has been a useful part. Remember, if there is one thing that I would say or stress, strain, most of all onto you guys. It's that you can EPA you want. Go further and push this further with wires that swirl around, really. Wires that swirl around like that swirl around the connector I. That is definitely definitely something that is doable. So having said that, since there's not too much more, I'm going to be able to get accomplished except I'm going to use trim curve to maybe cut some pieces off here and there. But like I say, because I don't want to, I want to really try to avoid some redundancies on this. I'm going to stop the top part of the mesh here. Because we want to go ahead and move on to the side mesh. Second. But if there's anything more that you're looking for or want to see. Probably going to have that in another tutorial. We're going to also, I can look at this piece right here. And also because I'm quick saving going to okay, that's locally. Since it's underneath there, I'm not too worried. We're going to also be covering a little bit more detailing in the back here. But overall, the only thing I'm probably going to do to cover up is have some small secondary wires. That's going to be the finishing touches for this top part of the helmet that you see here. And again, like I say, that will be concluding our tutorial on how we made the detailing of the top helmet. So I hope you enjoyed it and stay tuned for the final lesson on this section. 37. Adding Secondary Wire Bonus Footage: All right, Welcome back. In this tutorial, it's sort of a repeat to a previous tutorial. So it's best to consider this sort of like a bonus piece to the end of this particular section that I just wanted to add in. And what we're gonna do in here is just sort of add in some secondary wiring to the centerpiece here that you're seeing. That it will underline right underneath the main tubes. This here. So as you can recall that we did this, we did this before already with the eye connector. So a lot of the times this tutorial is just going to be mainly, not necessarily me going through and giving you the type of narration I normally do. I'm just going to show you my footage of creating this wire here. So like I said, if you're looking for the narration of exactly step-by-step, please refer to the secondary wiring that is used to create the connector in the eyepiece because it's the exact same tutorial again, I just wanted to sort of just once again add that footage in case you're wondering if we missed a step or anything like that. So it's basically the same as I say, it's just nothing new. It's the same techniques as before going up to mask and once again sitting it to circle and drawing in circles like here and here. Just doing a bunch of randomized circles. And then of course, brain amount, turning them into DynaMesh and then cutting off the pieces. Of course then after that, making a sort of deformation in the adjustments through gizmo 3D. So it's pretty much a relatively simple process. I'm going to kind of be quiet in this one because this particular tutorial has already been done before. So that's kind of why you're not going to see me talk too much in this particular tutorial because it's already been narrated through once and I'm trying to avoid the redundancy of the same thing again. So enjoy. 38. Creating Temple Detailing: Okay, and welcome back. We are now starting a new section here which will be two detailing the side in that we're going to be covering the fill-in of this space here, as well as detailing the mandible area. And we're going to be finishing off with an overall Passover of drawing in some lines using lazy mouse to 0 a in combination with the chisel brush. And that's going to be again new ZBrush for our eight features that can't wait to show you. Having said that. You're so just to recap, your sub tools should be, in this order, should be probably the the helmet along with the carved in Boolean piece and the the center of the tubing all put together the try camera. And of course the mandible little blades that come underneath here. But also one thing else that I wanted to highlight as a separate sub tool would be these pieces right here. We're going to be reusing those pieces again. So I wanted them on their own separate sub tool. So as you can see, I did a Boolean operation on all of this as a result and wanted to once again just sort of free up the space in my sub tools and also not have to tax the ZBrush for its frame rate when having Live Boolean turned on. So having said that, what we're going to start on next, going to be filling in the temple of the upper head on the side here. So for that, I'm just going to go again like we did before, and we're just going to start fresh and new into a new tool up here where it says sphere 3D. I'm going to bring that in a frame. And then I'm just going to hit tool and select my cylinder. Now from this cylinder, this is similar already. We've already done things like this before. I don't need to worry about my initialized phase. Just going to go into make poly mesh 3D. Now from there, I'm going to do a couple of things. First of all, I'd like to smooth this all out. So I'm going to divide this a couple of times by hitting Control D or Command D if you're on Mac. I decided to do with three terms there. And now I want to go ahead and cut up of these edges here. I feel like they're a little bit too rounded, so I'm holding down Control Shift. And now I'm looking for my trim curve. And yes, this on this scenario I'm going to be using trim curve, not the clip curve, because I intend to turn this into a Boolean. So with that, said mind, the, I believe I accidentally selected the wrong one. Trim curve. There we go. With that said mind because I did some divisions. I got to make sure when working with my trim curve that I delete the lower resolution and which I just did right there. And holding Control and Shift activating my trim curve, I'm going to just cut one piece up and then the next piece below. And then I'm going to go ahead and just flatten this down like so. Again, holding, pressing the WK to bring up my gizmo and then just scaling this through the y. So from this point on, I just kinda wanna make this hollow. Nothing too special. I just first of all, by doing that, I'm going to hit sub tool. And I need two pieces out of this. First of all, my base piece, and then I gotta make the exact same piece into a Boolean. So that means hitting Duplicate and then making that duplicate piece a Boolean piece like cell. Now it's still hasn't converted into a Boolean because I haven't hit Live Boolean, which would get some weird results. Just remember, that's what it's supposed to look like. So now that we have our Live Boolean perfectly centered in there, I like to go ahead and scale this and just a little bit too about that kind of thickness. And that should do just nicely for me. Right from there. I'd like to go ahead and work with our old friend radial symmetry and insert brushes because we're going to be doing some more Boolean sculpting here. So to do that, I'm going to First of all, DOC over my transforms. Just for my own personal sake and activate my trend and my cemetery so I can scale that up and align that properly, make sure radial is turned on. For me, I'm only going to use eight radial count. And it doesn't look right, change it, change the axis. It looks like it's a little bit off. So seven trees and the correct one. But this one is don't forget. We are every time we work with cemetery, makes sure that you are activating your local cemetery as well. Because this is going to be instrumental in working with reforming the insert primitives brush. Because we need to locally scale all of the individual pieces by themselves. Local cemetery is key for that. All right, So moving forward, we're going to find our oops, brush, that is insert primitive. And then we're going to bring this up here. Don't forget to go into insert cube and make sure that's set either by up here or pressing the End key and finding it. And then from there, too, as best as you can, I always start from the top. Just draw and smaller brush that looks straight As align that to give you an idea, this part right here where my cursor is lining up, should look perfectly straight, no anti-aliasing whatsoever, assuming of course you snap two to frame holding the Shift key. So after you've done that, hit Split and then unmask. And again, this piece now is going to be its own unique little boolean mesh. So I'm going to convert this to into its own Boolean mesh. And I'm going to select it. And just so I can have wireframe turned on and to illustrate to you, I'm now using the gizmo key to sort of the direction in which these should be looking. Here we go. That will work just fine for me. So now that you've done this, let's go ahead and do one more thing. I'd like to go ahead and try to take append a another piece onto this section. In that case, ongoing because I'm going to work with that primitive piece. I need to go through and initialize phase there. That's why I'm not doing it directly from this tool. So that means I'm going to go once again to sphere 3D. And then from sphere 3D to a new tool and selecting ring in 3D. And the reason I'm doing it from a completely different tool is because I need access to this, which we tend to lose when, once we create something into make poly 3D mesh. So having said that, I'll give you an idea of what to look for here and the radius button. First things first, I'm dialing the radius very thin and down probably to around five. I don't really need too many subdivisions, maybe 20 to fact, I'm just going to say for just find that happy little medium. And then I'm dialing the L divide into 130 and S divide should be 22, and S radius should be four. So those are the three settings that I'm changing in all of this. So if you have to hit pause and adjust that, I do so right now. Once you've done that, simply make this into a poly mesh 3D so it can be appended into your previous tool. Backup here. So we can see. And then we go to sub tool. And once more we append that newly created mesh, that newly created ring, which should show up right there. Now with that ring, we're going to select it. And I'm just gonna go ahead and turn that into a Boolean piece of its own. Now this is just some mom kinda doing on my end. It doesn't have to necessarily be yours. You can look at this in any way you want, if you wish. Sort of where I'd like to make this poly mesh Look. I'm just sort of creating a lip here of a three-dimensional geometry piece. Now, as you can see, through holding Shift F to turn on wire pairing mode. This is where our Boolean sculptor ring looks like. I'd like to have another Boolean sculptor random because I'm going to want to put it right here in the middle to give it an extra little sense of detail. So to do that again, we're going to duplicate the mesh itself and not the sub tool. So I'm going to hold down Control and then toggled the translate button in if anyone doesn't realize that you can't really hold control and toggle and the rotate or hold control and toggle into the scale. It doesn't duplicate that way. It will only duplicate in holding control and translating. So now that we got that there, I'm just going to put it right there in the center. So we're almost done with creating this little piece here. And the final phase in what we're going to do is going to be in a fun one. This is where we can flush out a pretty cool complex piece. I started combining it in, sort of landed on it myself. But this is part of that exploratory fun phase in which you get to find everything that you're looking for and have a lot of fun with it. So to do that, we're going to press the B key. And then we're going to look for something called insert mesh steam gears. These are presets put into your ZBrush, as you can see, just like the primitives are. And with that, I'm going to choose. Martin, am I going to choose so many of these presets? It's actually plenty of presets to work with. I think I liked. While there are just so many fun ones to choose on this one, I would probably go with that one. I'm going to choose gear 12. I'm just going to bring gear 12th into this course since I have it right there, it's not going to work with a warrant. Also, I have to make sure when I'm drawing the gear in that this piece is actually drawn on a sculptor mesh, so that means the top sub tool. And then finally, I have to make sure this piece is perfectly centered right in the middle. Now don't worry about the sub tool. It's going to actually be something that we split off. So we'll just simply from this point on since it's already masked, I'm going to hit split unmasked so I can work with peace. And then lastly, as this gear is right below the sub tool, I turned it into a boolean. All I'm doing now, it's kind of looking for an interesting piece out of this. I'm going to shrink this in. Like so, whoops, won't rotate it. And I'm going to try to look for an interesting looking gear piece out of this all. So you can see the one thing that I would like to do is make sure that I know that this is as centered as much as I can. To me, that's kind of interesting. I have a little bit of tearing up there and I know for sure, but like maybe when I stretch this out and stretch now a little too far. So let's see, Up to stretch and his back down. This will sort of one thing that was kind of my way of finding some fun looking shapes out of. So I kinda want to encourage the same sort of activity of for you is to use this opportunity to look for interesting and fun shapes to be working with here. Because some of the coolest things can be flushed out. Some of the most complicated shapes can be flushed out just by playing around with these insert meshes. And for me personally, I've found some pretty neat tools. You also want to consider possibly trying to lower the lower the sub tool so it's not conflicting in with anything as well. That two plays a bearing. If you don't want it to be fighting against any other existing booleans. So and is just food for thought. Yeah, that's right. I kinda like how that piece looks. So we'll go ahead and work with that. And in the end, let's see if we can just turn this into an interesting cool little sub tool piece here by going down to Boolean and make Boolean mesh. Fortunately, we got no problems out of that one. And now this concludes the first part in creating our side piece. 39. Creating Temple Detailing Part 2: All right, Hello and welcome back. As you can see, we are just doing a continuation of our newly sculpted little mechanical piece right here. What we want to do, it's just sort of a continuation that we're doing just to make sure we're all on the same page here. This is all for the purposes of filling in a little plug hole that we created in our block out to the side here. So let's just go back to the Boolean shape that we created. As I will reiterate, this piece was created based on the last tutorial lesson where we did a make Boolean mesh operation. If you go back to what you had, you can kind of see all the Boolean pieces of in place right there. So with that said, I'm going to just keep adding on further by creating a second piece independent of its own. And for that, I'm going to work a little bit more in with our Boole, newly established Boolean mesh as a piece that we're going to append in. Having said that, let's go ahead and make sure we have our sphere, our polygons cylinder, which is our original mesh selected. And then I'm going to go back to our new boolean piece right here and merely hit append and find that piece. And now we have it right there. And this new piece right here, I'm going to be working with, It's going to be sort of like the filler inside piece that you're all going to be seen. So to start off with, let's just go ahead and activate our cemetery once again. And one, like I said before, we're working with radial symmetry. So to activate that and you hit X. As you can see, I already have symmetry turned on, but if you don't make sure to go ahead and set your radial symmetry and the proper axis symmetry, if it's x and set it to x, if it's Y's headed to Y and C set it to z. But in this particular orientation, you want it looking like this. Now that we have radial symmetry activated, we also have our masks we can work with on this. So I'm just going to surround play with that and do a marquee selection to draw out a mask. Now, if looking at this mask, you can kind of see it's a little bit blurry and that's because we have a little bit of lack of resolution. So I'm clearing off the mask and I'm going to just hit Command D just to see where we're at maybe one more time when I'm on a Mac. So that's why I'm hitting Command D, but you can hit Control V if you're on the windows. Now, I'm just going to draw a mask out again. And with radial symmetry you can see all these masks have been drawn out. So with that said, like to clear the mask on the very top part of the bottom part here. So to cut out sections of the mask, I'm going to move this over to the side, hold Shift to snap it into its ortho view and draw another mask out while holding control. And now you can just also hold left Alt option as well. That will clear away that pepsin, so little mask that's going on outside. Now finally, we're going to hit In, invert. We're going to invert the mask by holding control and left-click. And then we're going to press the W key. And we would like to now pull these pieces out. Like so. You know, I'm not too much of a big fan in what I'm looking at right now. So let's see if we can do this correct. Since it's should be on local cemetery. The only thing that we should be seen at this point is pardon me, is just a single pardon me, a single mask. No symmetry whatsoever is turned on or enable. So just keep that in mind because the way we want all these pieces here to be expanded out. Having said that, I'm going to press the X key and just simply toggle the scale to expand all of this out, like so. Now, I'm also going to switch this to the side and toggle the Z. Two shorter, sort of shrink this down. And now I'm kind of getting in. The area of what I'm looking for here. They're going to scale it out though, a little bit more. That should work just fine for my needs. So again, just going to scale this in, flatten it out. And now I'm clearing the mask and we got something looking like this or like a Japanese sun. So one thing I would like to also try to do is I would actually like to flatten this up a little bit here. And to do that, I'm going to hold Control Shift. I already have my trim curve selected. And I'm just going to remember since we're working with trim curve, I almost forgot. I got to delete all my resolution, lower resolution. You can also try a UX is certainly a new, I think I went a little too deep. Mean to you just kinda wanna push this part in here. So now that we have this piece all selected, all that needs to be done and don't worry about worrying, having to DynaMesh this. I'd like to bend all of these pieces so that they had come out like an angle. So again, we're going to have to re-enable the, the cemetery in draw out a mask at the very end here. And then finally invert the mask, like you see here. So you should see the mask lit up at the end here. Now pressing W, I'm going to turn on my gizmo. And I'm just going to drag this out. Like so. That is all that we're doing with that. So from this point on, we're going to be working on trying to get, do some experimentation of working with our Boolean once again. So let's take a look at and see what that can look like. With that Boolean, we're going to use the newly created mesh that we made here. As you can see on the upper right-hand side, we're going to be reusing this piece for two purposes, one as a mesh and one as a Boolean sculptor. So to do so, I'm going to duplicate this sub tool. And then I'm going to move this sub tool below this new sunflower looking hard surface piece. And that's going to nap. So I do that so I can have this piece affected as a Boolean shape. Now I'm going to turn that all into one Boolean mesh. Finally, this is going to be once again me experimenting with what I got here, looking for that piece. And if there's anything that has to be emphasized about working with live booleans is sometimes in creativity. You just got to experiment and just find that interesting shape. So please feel free again to pause the video if you want. Just if you want to look for something that looks cool and say, Hey, that looks pretty neat, just make your own shape if you want, it's your call. But as you can see, I'm going to be doing something similar. I've already made something that's a little bit unique and interesting. And it's based on the Boolean that I created. I'm going to push it in. I'm going to pull it out. And we're going to scale it in. I'm going to scale it out. I'm just going to see if I can look for something that's interesting in all of this. It's, that's kind of what the name of the game is here. It's looking for something that's interesting through the shapes that you create that were turned into Boolean processes. So in this case, that's going to be what I use right there. So To do the same, like I said, all I was doing was just working with the gizmo manipulator and scaling all the z-axis for depth and the, the XYZ scale for size. Uh, how far I wanted to go in and translate, et cetera, et cetera. I'm rambling on and on. And now I'm going to go to the original mesh that I had. And I'm going to make sure that that's centered properly. And I'm going to scale that out and flip that over. Now. I'm just going to bring that piece in like so. You can sure it doesn't conflict. Put it in the middle like that. And finally, I'd like to build a hole right in the middle right there. I just want to punch one hole right in there. So if you want to use a Boolean sculptor that you've made from previously using your top head of pieces. You can certainly do that. I'm not going to do that myself. I'm just simply going to hit append and bring in a, again that same cylinder piece that we started with at the beginning. And it's right at the bottom there. Oops, this ability wasn't turned on. There we go, bring it back in. And now all I'm doing is I'm scaling this piece because it's going to be turned into a Boolean of its own. And what I'm going to be doing here. So I'm going to make this sort of like a piece that's going to be turned into pretty cool looking no wire that's kinda coming out in jutting out of here. So having said that, I'm going to the very top sub tool once again and I'm hitting make Boolean mesh. And hopefully we get somewhat similarly clean mesh created without too much hassle. Alright, and now that piece has been made. Let's go ahead and take a look at it. As you can see, it's right there. Looks just fine. Let's go ahead now and go to our main tool again, back to our helmet. And now let's go ahead and just append are made Boolean mesh as one. Scroll down and use the gizmo manipulator to scale this piece down. And we're going to put this guy right in the center there on the side. Oops. It's very macho to say the word WOOP SUS. And as you can see, you've got ourselves the first main piece to this side temple area. From there, I'm going to I can do a lot of things. I can actually, if you can recall the wire method in which we extracted wires from 3D poly planes, we can work with that. And then simply instead of going through the twist to former, you can go to the bend deformer. And if you do that, you can do a combination of well, first twisting it in there and then going in here to do a bend arc. And you can do a whole bunch of interesting, cool little detailing will basically be going over that. The last phase of detailing this upper temple side section out. But we're going to stop here and then we're going to work on trying to detail out the sides as little platelets that will hold onto the wire that you'll be seen coming out of this piece. So stay tuned. 40. Creating Temple Detailing Part 3: Okay, and welcome back. We're going to be working now on creating a wire that we're going to draw outside that's going to circle around here. We're going to add a little bit of detailed platelet covers that we'll go over the wire to give you an idea of what that kinda looks like. That's sort of this area right here that we want to be able to project. So to start off with, let's get back into ZBrush here. And now I'm going to want to choose the wire that I'd like to work with and the curve wire that I'm going to work with. For that, I'm going to work with the insert mesh army curve as my choice. And from there, excuse me, I'm going to work with the first one just to kinda see what that one looks like. And just kinda do a quick draw doodle the see what I'm working with. That's not too bad. You may be concerned about what you're seeing here, but if you just give this a tug, you can already of refresh that out. It's all this is is just matter of retracing pieces back in over and over again. And now already getting the results that I am looking for here. Mind the little render issue that could probably just be something I'm doing in my own computer. Graphics quality may just not be up to par. So having seen that, that's the kind of tau of palette that you want to be able to draw this through. I'm going to redraw this one more time for you so you can illustrate. And I'm also going to lower my draw size down just a little bit more for you. So that could help you. Just sort of, whoops. Sorry. Now because this peace is a curve, it has an auto preset quality to snap on against any mesh. And as you can see, there's some pretty jaggedy meshes. So when I release and draw out, you can kind of see some weird funkiness going on here. Don't be alarmed by that. Again, to fix these areas here, you just got to straighten out your curve by going towards the end here and simply pulling and tugging back and forth on it. It does straighten out and resolve itself. As you can see. And already it's starting to make a little bit more sense. Now, don't forget how the curve works here. When the, when you are away from this little curve that's drawn out here, you're in this step of where the drawing radical is highlighted as red. Whatever the draw sizes is going to affect what's b, the size and diameter of this piece. So if you want to turn it slightly down and then come over here and left-click. You can kinda make the piece already a bit smaller. And of course, when you see this turquoise highlight shade here, that just means we're able to manipulate and our peace to the curve itself. Finally, problems that could dropped out of them. There we go. Now finally, the one thing I think I'm going to want to do is I'd like to make this a little bit bigger because I feel like that's a little bit narrow going in. So I'm just going to come in here and switch this for 13, 18, and just click on the curve. Maybe go even a little bit higher, like 21 or 20 to school more time. And yeah, that could actually work. So having said that, I'm okay with what I'm looking at right there. So all I have to do right now is something very easy and very simple to do. And that is I'm just going to append some pieces over here that are gonna be kinda like braces. I'm also hitting Z because I'd like to bring back my curve and may just add a few more modifications. In fact, if you can see so you can get your curve back, back. I'm, when I say Z, I mean Command Z or Control Z to do the undo function to you. Or curb step back here. Go on ahead. So to iterate Tom now going to do those append racers. And to get that, I'm just not going to be anything complicated on how we do this. We're just simply going to go to sub tool, append and cube. Of course this is going to be on the very bottom sub tool. So let's bring up our manipulator and get this cube scaled down. And this isn't going to be anything crazy or fancy. I don't even see. I never even used a boolean for this. This was a matter of having something there to add to the effect. We can bring this and there we go. Like so. So go ahead and take note on how I make this piece here. I'm just working with the gizmo tools to scale this down. And then wantonness out. Let's pull it out so you can get a better idea of what you're looking at here. Don't be afraid just to make it generally around this line. You can see my just make this a little bit more and like to go ahead and try to get this as close as I can. I'm going to draw a mask right here. And then invert that mask and draw something out like this. Maybe even tried to stretch it out. In the end. That's the intended shape that I'm looking to get. If anything, if you feel that it's a little too crooked or I know minds a little bit slanting. You could go all the way through the sliders all the way back again and just make your piece standard out default. Of which I think actually I might do just for the sake of being thorough with you guys. I'm going to actually do that. You're going to just bring this piece here to concern. And then I'm just going to flatten him down like so. And of course narrow him down like so. And now that I have it perfectly straight and aligned, It's going to be easy for me to just draw a mask, try to get the mask as best you can in there. And then invert it you bring out. Probably make that a little bit bigger though. There we go. And we'll just bring it out looking like that. And that way we have something that's a little bit more straight. Again, you could always make this through Z Modeler as well. It's not too terribly hard. And upcoming tutorials I would like to have a model or as its own little beast. One of the reasons we're not using too much see Modeler as Boolean sculptors in this is because I didn't want to have an over abundance of prerequisites for the enrolled subscriber on this tutorial. I just wanted to just start with something simple that anyone could follow along with me. Okay? So don't worry about these pieces and don't worry about these pieces here, they're going to be easy to fix. So first thing we'll do is we're just like we've done before. We're going to hold control and toggle with the translate, in this case the outer four corners. And I'm just going to bring them out like so. And then one more time, like so. And I may just try to get that hugged in there as best as I can. Now that we have what we need, we can do we can clear off the mask and go ahead and clean this up with either a trim or a clip curve. It's your choice because we're not working with any nom, we're not worried about any non manifold geometry. So if you wish to use a clip curve, that is certainly are right. I will not go. Oops. I'm just going to go ahead and also put a mask out here. Way. Things OK here doesn't get affected. So that's going to be how we detail out the sides there. As you can see on the next lesson, we'll go on how to do fill in pieces of wiring that goes within here. So stay tuned. 41. Creating Temple Detailing Part 4: All right, hello, welcome back. This is going to be the last section here for detailing this temple part of the site. First things first, as we can see, we've drawn out our wire and braces and created our cylinder, sphere, cylinder, sorry, piece, fill-in piece here. So as we can see on the sub tool, so let's just go ahead and combine the braces with this wire piece. By doing so, we can kinda minimize the number of sub tools we have down here. So I'm just going to go under merge and hit Merge Down. And then of course, the curve is still on here. Might want to take that off, so I'll just click off to the side there. Finally, I'm going to hit duplicate and go through deformation and then mirror it over to the other side here so that we are dealing with a symmetrical side of both sides. After that, we're going to do one more merge down so we can again just keep everything all in one space. So it goes back to clicking on the top copy here, sub tool side, and just hit merge down one more time. So now we got both are pieces right there. As you can see, if I should look something along lines, kinda like that. So one last thing I wanna do for finessing is, is that I'm going to create, again, a little bit of wire tubing to fill into this hollow region right here. And which should be fairly quick and simple to do. So first off, we'll be going up to where it says sphere 3D. And then once there we're just going to go into our tool and click on it and find downward says 3D meshes a plane, 3D. And this is just like it was before. We're just pulling out a couple of wires and we're going to work with the deprivation of our gizmo 3D manipulator to do our deformers. I'm sorry, to get what we want. Now from this point, we're still in the initialized phase. So let's go ahead and get out of there because I'm not really too concerned about what I'm looking at here. So just make poly mesh 3D. As a result, we have our mesh. If it suddenly disappears, just move it around. That's usually because the back based calling doesn't really show, so don't be freaking out if you lose it. I'm going to divide this three or four times probably, and not too crazy amount. And then a course like before, I'm going to hold control to bring up my mask and change the stroke to a circle. And draw in like before, some randomized tubes and wires. In a lot of different variations of different sizes of Fourier can see, kinda looks something like that. And again, I'm just drawing in random patterns here. Nothing too crazy. Trying to avoid as best I can, ovals because that line makes something off. All right. They would just put it like that. I'll get an old perfectionist on. Okay. So having done that for me personally, I'm just going to turn these masked pieces into poly groups here, since we have a mask are already established, will just convert it by holding down Control and hitting W. And again, if you're having any trouble with all of that, you can always just go to poly groups and the sub tab and then do from masking to change those into poly groups. So from there, we would like to kind of make a smooth extraction. So I'm going to also add some edge looping around the poly groups like before. And for that, I is going to be a Geometry Edge Loop. And then group loops. And then I'm just going to, you can do it two or three, but Don't forget when you're adding group loops in. Again, delete the lower geometry. One of ZBrush is absurd rules. And just go ahead and do so. It's Paulo should sell. And you should have your selfsame group loops. For me. I'm just going to play things safe and enable the hollow circle in Polish by groups under deformation. And you click that on and just kinda drag that once through. Think. You're just a couple of times. There we go. That's just to make sure I get a smooth extraction from these. So holding Control shift, you're going to click on an isolate select. This brings up everything that I saved out through the mask and makes it easy for me to once again paint a mask over so that when I bring everything back by clicking off here and hitting Control and Shift, I can then finally invert that mask and then go into my gizmo 3D manipulator and pull something out. Like so. Case. We're forgetting this technique was used several times already. So let's go ahead and cut this piece off. And for that to be cut off, remember it's holding Control Shift and looking for your trim curve, not clip curve, it won't cut that piece off. It will just mash it down and make some similar to what you're already looking at right now. So holding Control and Shift again, I'll be cutting a section off of there. And also remembering a tricky thing about control of the the trim curve. Make sure you're clearing off this mask before beginning or else you will get just basically a secondary poly group turned cut-through. So there we go. So we can see we have our mask. Now the last thing we need to do is try to make this work as a DynaMesh because I'd like to bending conform this. There's no edge loops between here, so it's doesn't have any resolution along its cylindrical access. To go into DynaMesh. Again, we're hitting geometry DynaMesh. And I'm turning my resolution down. And just simply getting done at Michigan. And grain to the gods that I don't get a crash. Because guess what? I did forget to save. Alright, we add our DynaMesh. Interesting artifacts that we got there. I'm going to hit Control. It looks like they're a little bit too close to home. So ongoing to mask all those pieces and then invert the mask and move them a little bit farther away. Now I'm going to hit quick save because I want to play things a little bit safe. And let's try this one more time. I think also, maybe that one needs to just be a little bit far off. Okay. Let's DynaMesh this one more time. And is the longest DynaMesh and I've never had to deal on. It has something to do with having project turned off o or my computer randomly running slowly. Having said this, while this is DynaMesh and I will take this time to repeat a reiterative message to everybody again about watching these videos. If at anytime that you are seeing this, more feel that this is going at too fast pace, please take your time and watch it a first-time without following through. So you can get an idea of what to expect. And afterwards, when following through, always be hitting the pause key. And Then rewinding, pause, rewind as many times as necessary. Okay, so looks like we got our piece here and we're going to do one last thing with this and that is work with our deformers. Now you notice I just went in centered this right to the middle. That's going to be very important before starting your deformer. Let's go to COG, customize and then do twist as the start off. Like before, we're working with the end cones here on the twists, not the center. It's not a big deal. I'm just going to work with some subtle twist. I'm not going to go too crazy. I don't have to make it that crazy. Then I'm just going to hit Accept, go into customize one more time and then bend arc. And this is where we'll do it a make a cylindrical shape. And for that we do work with the center of the cone manipulators, particularly the green one. This is kind of where we want to make it look. Do not worry about these pieces not matching up because we'll be working with that actually. And it's going to be covered up when it comes back in. So having that in maintained in mind, let's go back into our main mesh. And from there we're going to hit append and find our wires and bring them in. And it's like they're a little bit giant. While I worked with a very small head. Make sure to use the manipulator because what we're gonna do next now is we're going to work with trying to get these little being wires inside. So which is working on trying to get this kind of matched up to what I'm seeing in here. Stifling off-key. Right? We go. All right, so now that we have it in there, Let's go ahead and just duplicate the mesh itself. Remember I'm not duplicating the sub tool, it's just the mesh. So we're doing control and chat, tapping out to the Translate and moving it just a little bit. The whole idea behind that is just trying to create a little bit of variation in what you're making every single time. So that you can create a little bit of tubing. Once again, Let's do that one more time. And this time we'll do it as a whole. Skill it down, rotate, round, create a little bit of webbing inside there. So I've been said that that kinda concludes the temple section of our tutorial. Next up we're going to be working on the mandible section underneath here. And then we're going to finish this off by importing the eye and working on the chisel brush and working with our new lazy mouse to point O, which is a very good tool to be using, especially when dealing with hard surface now that we can do 90 degree angles. So stay tuned. 42. Mandable Detailing Part1: All right, Welcome back. We're now going to be doing the second phase of the side detailing here. And for that we're going to be working with this section right here. And to go from there, we're going to first do a recap of our sub tools. At this point, I have a maid Boolean operation done out of the main helmet. I have my camera pieces here. And of course, I have saved out little technological greebles section that as I mentioned before, up here, where the head cavity is on the side, I have a sub tool for the mandible jaws that sort of the mandible shards, if you will. I'm just calling it, I'll just call it that for old time's sake. The sub tool combined with the side temple and of course my wires that go underneath. I'm just going to also merge those two down. Just keep everything minimized. So we can make things a little easier. So having said that, let's work with our mandible jaw shard right here. And for that, we're going to just to free up some resolution on here, unlike to go forward and just about turn everything off. So these two pieces are all that we see that's left because we're going to be doing our detailing on these. Now, I don't really need to necessarily have two of these. If you want to work with cemetery, that's fine. But if we're going to be doing any trim or clip curb work on a Boolean that is intended to focus on the other side here. May just want to be on one side and simply duplicate what you've made in completed over. So having said that, that's what I'm going to do. So to start off, we have control and shift. We're holding that down for doing a isolate drag rectangle. And then I'm pressing Alt to turn it to red so I can make that disappear. And like I say, if that goes to quickly pause at anytime, I know I'm being redundant, but I just want to keep reaffirming that and engraving that everyone's had. For then we're gonna go to geometry. And then from geometry, we're going to and modify Topology. From modified topology, we're gonna go to delete hidden. Now, we just have this piece right here. And that's what we're going to want to work with. So to start off, this is a fairly low res match. There isn't really much to it. If I divide it, it shouldn't really give me too many problems if you are having any tears that go along as a result of the divide, just turn your smooth off and do a divide. And it shouldn't give you too much problems. The smooth, the SMT smooth sub-divide smooth MOD by modifier. Let's say that three times fast and that's under Geometry. So I'm going to keep that on for now though. And I would like to paint a mask here and do an extract and then turn that into a Boolean. So just, so we're all on the same page, this is going to be detailing out this mandible jaw area. So having said that, I'm holding control, checking to make sure I have freehand stover stroke made. And it before. I'm just going to maybe just small brush, make my brush a little small. And I'm also going to divide this out a little bit, a couple. I've done two divisions now, so I can little bit of a divide out of it. Not too worried again, about making a specific shape on this. This is just simply so I can get something that adheres to the same curvature of this piece here. That's the most important thing to get out of this. And we're going to go to sub tool. And we are going to hit extract, which is at the very bottom. And let's go with something a little bit above normal thickness and angle this in a right. Mm-hm. Mm-hm. Yeah, I think I think that's actually not too bad. The thickness I'm going with is 0.0249. So I think I'm going to accept that and then clear off the mask on that soon. Now that we have that, let's go ahead and clean this piece up. We're going to temporarily I'm going to go to that piece and temporary turn off the jaw. And again, this is intended to be a Boolean shapes. So when we do a Boolean shape, we're going to. To keep in mind that we need to be working with the trim curve and not clip curve for to avoid non manifold mesh geometry that's created. So trim curve is holding Control shift going over here. And I was going to turn the mandible off, but I have a better idea. We should just turn it into this pace, a transparency so we can kind of see, get ourselves a little bit of an idea of what to expect here. So holding trim, color are holding Control Shift. We're going to draw out some lines now. Remember if you need to get this to bend or curve at a point, it's just holding Control Shift to draw out the curve, releasing Control Shift and the left Alt. Again. And I'm just improvising myself. I'm not really taking a specific approach where I want this to go or look. Making my own little shape. You don't have to get the exact piece you could, if you want, try to do your own unique shape. Just simply going with mine. And yeah, that looks actually good enough for me. Let's turn off transparency and let's go ahead and make this into a Boolean. Now that we're in Live Boolean mode, remember Live Boolean mode for me as up here, but if you can't find it, you can always go to Render, Render Booleans, and that should be right there for you. And now we're going to turn that Boolean into a Boolean sculpt sub tool piece. And that should be the extent of where you want to go. If you want to do anymore manipulation with this piece, you can always do that. Example, working with the move tool or trying to get a shape that ADA here. So the curvature underneath here, It's your call where you want to take it. No judgment saying where your personal specific aesthetic line is going to be for you. So It's going to keep it like that. Alright, so now that we have that piece created, let's go back to our mandible jaw piece area right there. And we have the mask still on there. So I'd like to clear out that mask for the time being. And then at the very last point, I want to make this into a Boolean mesh. We're going to do this several times, go through them, make Boolean operation. But for this particular breakdown point, I'd like to just make this a Boolean mesh right now for all intensive purposes, for what we're going to put in the middle of here. I need the poly group that the Boolean mesh creates. So we can do an isolate select on the process. So we're going to just do that real quick. Can be a long process, shouldn't give me too much of an error. And we got our new mandible shard generated from our Boolean mesh. So let's just append that down by hitting the append in sub tool section, finding our new mesh and bringing it in. And now we can just simply, if you want, you can turn it off just to play safe. Or in this case, you can just delete it like I'm going to do because we wanted just free up things. Or a actually, if you don't want to, it's always safe to be saving out your booleans. If you have any issues with them, you can always redo it. But I'm just going to go ahead and just save it out right there. So now when I hold Shift F in that Boolean operation, I got these poly groups generated, which are going to be very advantageous in how we tackle the next tutorial. So stay tuned. 43. Mandable Detailing Part 2: All right, Welcome back. We're now going to be doing some detailing in the cavity here. Just put a little bit of event here using some, doing some previously established hard surface sculpting methods in ZBrush. And for that we're going to be working with Projection Master. And I'm just going to again caution before we begin to make sure you save your project out on this projection masters hot point for common occurrences of crashes. So I I don't have really too many issues with it, but I do want to give as much warning and heads up on the issue as possible. So having said that, let's go ahead and look at what we're doing here to see if we can get a good projection. If I hold Shift F, you'll notice from the last tutorial, we created a new sub tool up here that we appended into our main tool set that has the helmet. And it was done through a Boolean operation to create this little cavity piece here. I needed it done this way also for another reason. I needed a poly group right here that I could isolate, select, and mask out all, everything else from. So before we do our Projection Master, we gotta do that first. That way we don't affect all the areas on the outside here. So let's start off with isolating the poly group here, holding Control Shift. And then clicking on that poly group, Let's drag out a marquee or you could just hold Control and just click off to the side if you want that. Now let's bring it all back again by holding Control, click and click off to the side. Now let's invert that mask c. Now we have it all perfectly set. I could be doing it the other way, but I'd have to go through all these groups one at a time to get the exact same area. It's just easier to do one mask and invert that, invert that mask, then they go on the outside here. So if in case I was wondering, so let's go ahead and start with our Projection Master. Let's press the G key, as in go, and make sure we have everything that we need. We need deformation in normal lies as our main points. Click on Yes it for poly pain if you have too. And after that, Let's go up here to where our brushes are. And let's change out the current. Make sure the stroke is on current stroke. And when you click on Alpha, you're dealing with help Book 14. Now that we have that, let's do some modifications to that alpha even further. Now with this alpha, let's, I'm just documented over by clicking up on the little circle radical here, bringing it over here. And I'd like to do some modifications to this alpha so that there are multiple versions of that alpha. For that we need to toggle with the, the tiles and the H tiles. Remember to get them look in the same way. We got to be able to make them both the same number. So if I'm making the H tiles 10, that means that the tiles have to be 10 as well. If you do that, as you can see, we get a result similar to that. I'm also going I think teen You know, I think that would be easier for me. Let's just hit G and see what that looks like. I'm going to hit G and see what that looks like. It's 0, 1, 2. For me personally, I find that to be a little bit pronounced deep. Let's go ahead and go back and we're hitting Command Z. Just, I want to just see what that would look like. It's a little bit too pronounced in deep on there. So let's go ahead and change out some of the intensity of 12, see what we can get. And let's also, let's lower the H and V tiles. May actually, that, that's a little bit better, That's also a little bit cleaner. And as a result, so I'm think I'm gonna go with that as my mesh. So to do that, let's just go ahead and make sure we haven't covered much on the hotkeys or the button movements in Projection Master. So if you're new at this will walk you through it. But what I'm doing is I'm clicking, I'm dragging out a piece. Then I'm pressing W to go into the translate manipulate mode. Now with w, I can, if I click on this blue circle on the outside, I can move this around. So we can say, well, I don't want to just move it around. I actually want to work with a straight. Duplicating the mesh instead of having a eyeball it and read, drag out the same piece in a different area. So to duplicate what I've already created without having read, drag it out again and trying to get it the exact same scale, I'm going to just press Shift S and then click on the outside here. And that's going to, that was a little bit to where that might be, why that's happening. Very weird. In that particular case, that really was a weird thing. He had a little bit of a weird, unique zoot ZBrush moments. So I'll just go ahead and do that one more time. She's holding Shift S. I can actually just once again duplicate that same material over all the way across. So having said that, I'm probably going to make this probably a little bit smaller. Like to go maybe somewhere around there. And you may also find yourself in a scenario where you have to draw out this piece a couple of times. And then just again, like I'm doing holding Shift S to duplicate the material. Last time I did this, I did this through a Boolean where I made cylinder piece instead. And I was, It wasn't that I had a problem with it, it's just that I felt that a Boolean technique was little bit overkill for something that you can just duplicate a mesh on and create your own Alpha with. It seemed like it was just a little bit too much overkill of a process. I didn't really want to go through the whole ordeal of creating a bunch of cylinders and turning them into Boolean sculptors to go across and then cleaning those sculptors up. So This is just again, pretty easy. I'm just holding, I'm just so every time I'm duplicating, I'm pressing Shift S. And at the same time, I'm going to also be dragging the blue circle around. Now it should look something like that. Now you see all these other areas you are wondering will, won't that get masked? Now? It probably won't because it's in a mask, so it's probably going to be unaffected. So that's sort of the intended look that we want to get out of that piece. If you feel you want to duplicate the geometry a little bit more, please, by all means, go on ahead and do so. I'm going to do, add one more piece to this. And that's just something simple. It's just going to append finding cubed 3D. Then going to that cube. And I'm going to shrink this guy down like so. And Latin him quite a bit like so. So it looks like a little stroke there. And we're just going to outlay the strip using a combination of the duplicate mesh feature to kinda give sort of like a underlying manufacturing, manufactured look. I feel we're talking about here, which is simply holding control and duplicating the mesh. Control. Translate by duplicating the mesh in one last time, then clearing out the mask. And if you hold Control Shift like trim curve is still active. If yours isn't, go ahead and set it to trim curve. And we're going to cut off those pieces right there. Like so. So that's sort of like how we're gonna do the bottom part right there, combination of Booleans, projection masters and trim curves to cut that up. Next up we're going to be working on is this area right here. And then after that, we're going to work with putting this all together in creating the underlying area of coming up. So stay tuned. 44. Mandable Detailing Part 3: Okay, and welcome back. We're now going to be detailing this part of the mandible shard here. So it's going to be as similar process like we've already done before. We're going to be working with control masks and extracts, excuse me. And remember to reset your Alpha if it's already in the repeat. Go back to your alpha modifier and go to modify and select your H tiles in V tiles to be back for one piece again. Because we'd like to draw this all out without having to deal with a bunch of multiple categories. So to start off, I am going to just again draw out a mask. It's not too crazy, nothing too insane. Just one mask by holding down Control and drawing on it. Just to be sure not to have anything that's two jutting out or off track. In some cases, you may just want to have it just a little bit bigger than the attended area that you want because you're going to be cutting down on that mask later on. So having said that, I'm just going to do again a mesh extract from this piece. Just like before. However, I'm going to make that extract a little bit bigger, thicker as far as it goes. So we're going under sub tool and finding, extract. And I'm going to toggle through the settings to find which way I want it. That's a little too deep. That will work for me. I'm gonna go with 0.081 on this and pause if you have to catch up with me. But yeah, it's just going to be that extract and then I'm going to hit Accept. Then we have our new mesh. So now I'd like to clean that up. And of course by doing that, I'm going to be cutting off the sides, but I'd like to also see through there so how to see how it overlies. So this is an opportune moment to once again turn on transparency so I can see what I'm doing. And making sure as always, when holding Control Shift that you come up here, find your trim curve and make sure it's selected. So let's go ahead and just start cutting this piece up. Remember, trim curve has several requirements in case anyone needs to review. First, you are not supposed to have any subdivisions on there. Secondly, you can't have anything masked. And third, you can't have any hidden geometry. Else. It's just going to draw in a bunch of cuts that are like poly group cuts and not really trim or cut anything officially. So once again, hit pause if you want to make your own shape and you want to have your own time to do that. That's quite all right. And then once you're finished making your Boolean sculpting piece that you're satisfied with. Just feel free to hit Resume. I'm not going to take too much time on. It. Would be probably frontend spruce is what we'll be using. You have any artifacts that are like this that show up. Remember you can just simply hit trim curve and just clean. Do a cut all along here if you want. I'm not going to it's not really going to bother me because of what I'm gonna do next, which is put a Boolean underneath it. So now that we have our piece, I'm going to take us out of trans permanency and take this piece now and convert that into a boolean. My gizmos a little bit off. So I'd like to center that by clicking on my go-to unmasked mesh center, that upside down drop and the lock and century now my rotations just sort of making sure everything's in play. So that's about kind of where you want to put it. If you feel it's often any way, you can just go back and again, just find your trim curve. And then maybe finish up with the move tool. You can show, of course that's big enough for you. Sure, One more Good Move tool, you're have a big enough brush. Really wrinkle out whatever it is we are moving. All right, so for me, that is good enough for a cavity. Like I said, now that we've done that, let's go ahead and take our Boolean mesh. That is a sculpted piece that we cleaned up this piece here. And now let's go on ahead and duplicate that mesh once. And we see it's got ourselves a little bit of a, it's kinda overlaying the Boolean. So let's shrink that down. And more importantly, let's make sure that that mesh is add a hearing to two things that are important here. First thing is, is that it's below the Boolean, the original Boolean. This sub tool is below this sub tool. This sub tool here is the Boolean sculptor. This sub tool here is your mesh. And then the other thing I'd like to do, this one is I would like to just make this one a little bit more thin. Oops. Stop clicking on the arrow. Go. Get that centered back in there as best as you can. See now that we have that, we're going to do one of two things. You can either delete, duplicate the sub tool, or you can do a duplicate mesh. So I'm going to do a duplicate mesh, which means I'm hitting holding down Control and tapping off the translation. In this case one of the poor corner translations instead of right translations, they shrink this down. This looks familiar. This is kind of similar approach we were taking with the apartment. The top of the head. And I'm just tucking this guy now back in there. Once again, sort of a perfectionist right now, I apologize. Lastly, some finishing touches on here. I'm going to press the B key and I'm going to hit Insert Mesh primitive. So if you want to know the hockey, it's B, i and then t. Making sure you hit the M key or coming up here, we want to make sure insert cube is our choice. And we're going to draw some cubes. And right around here, I'm going to just draw them in like this though. Try to establish it at an angle because we would like this to be flat like so. And then we would like to take this cube and we'd like to split this off now, I'd like to take this off of this piece. So again, to do that since the insert meshes unmasked, we do split, unmasked and holding control and translate. I duplicate. Oh, sorry. Oh my goodness. Split on this. Now let's go to the sub tool. And holding control. We have that. Let's turn it into a Boolean here. So we're dealing with peculiar. Currently, I I think I see what I did. Make sure when doing this. You're underneath all sub tools so that you can get that to affect properly. I apparently did not do that. Okay. So that's sort of what I'm wanting to make right there. I'll go ahead and duplicate that mesh one more time, holding control and translate. And then after that, I'm going to finish off with one last detailing of this bottom mandible shard in the next tutorial. Be ready to import another customize Boolean and stay tuned. 45. Mandable Detailing Part4: Okay, and welcome back. We're now going to be, for this lesson, we're going to be applying a customized Boolean into this little cavity area. But before we do that, let's just go ahead and I'd like to once again turn this into a Boolean mesh, but I'd like to leave out this little platelet that's going to be its own little piece. Later on. There's going to be one more time we do a Boolean operation after that. But let's just go ahead and try to just sorta so we can get things cleaned up and get a certain boolean out of the way that's cutting into here. I'd like to clean things up first. So I'll just turn off the sub tool that has the platelet. And then this Boolean sub tool that is carrying out the the little debits that go into the platelet right there. And then after doing that, I'm just going to make a Boolean operation, which is in the Boolean tab on the sub tool, shouldn't have too much problem with this one. So you can see it's just one single Boolean operation that we're doing, a very simple one. And after it completes, let's just append it in there. And that's going to be our new mesh that we work with. So we can go ahead now and we can, for the sake of just clearing it away, we can delete that off of there along with the Boolean sculpting piece that was used for it. We can delete that as well. We're still going to leave these to the platelet and the Boolean that goes with it. We're going to leave those two pieces off for the time being. They are not really necessary. So I'm just going to keep those off. And for now, I'd like to just kinda focus on this tool right here. Also, don't forget the little strips here. Make sure to clear that out since that's been included in the Boolean operation. There we go. So in the end it, you should have something like this, just one tool. So for what we're gonna do next is we're going to put a customized Boolean inside of here. And you should have that in the resource files. Where your basically the resource files in which I attached in Udemy, you just simply download it in, import the OBJ file in there. I've already imported it, so I'm simply going to append. Now after that, I'm just going to select it and using the gizmo tools, I'm just going to bring it around and get this applied into the sub tool cavity here. And if you want, you can always use matchmaker if you're not getting the exact flat shape that you're seeking. Well, I'm going to use the half power right here. And when you're at this point, I'm going to hit the quick Save button just because I like to always do quick saves whenever I'm doing using the trim curve to cut pieces up. And I recommend you do that too. And then I'm turning transparency on while on my Boolean sub tool. I'm going to now try to get this as neat as I can as probably in the a clean fashion I can to just cut within the areas here so that none of this is going to be used. So to do that, I'm holding Control, Shift and selecting my trim curve. And we'll just start with big chunks. We're not going to, whoops. That's not, not like that. And now I'm just hacking away really at all the areas that might be problem child and areas. Making sure that this whole thing is within side. Our little cavity here. It's like there's little bit of a curvature here, so it'll be afraid to use that old key. It's good practice. And that's all that it is. It's just simply bringing it in and turning it into a Boolean like that. So with that in mind, we now have a platelet and a Boolean of which has to adhere to its own area. I'm going to, if I turn on my platelets sub tool, as you can see, It's getting affected by this Boolean. So to fix that, make sure you move the sub tool of this platelet below. Whoops. And also make sure you have the right one like that. So having said that, that's sort of what you want to go for. If you feel it's a little too deep here, which I kind of feel it is in the outside platelet. I can always just move that back down into it like that. It's not really too horrible. Big deal. Just remember that when you do that, you're also want to be able to readjust the secondary Booleans that are kind of carving in that I made. Those two have to be pushed in as well to make, make room for the debits here. Again, these platelets and the Booleans that are sculpting on to the platelet. They're not being affected by my customize Boolean because of the order in which the sub tools are handled. And that's an important thing to really understand. Anything below a Boolean sculptor doesn't get affected by that Boolean sculptor. Anything above the Boolean sculptor gets affected by that Boolean sculptor. So if this sub tool here is my Boolean sculptor, my platelet and my Boolean secondary Boolean that goes onto the platelet, which is just below that, is below the customized Boolean sculptor. I know it seems a little confusing for some efforts, but it will make sense. So having said that, I'm going to just do one more make Boolean mesh operation. And that's going to conclude us on making the first half of the mandible. Thank you. 46. UnderMandable Detailing Part1: Okay, and welcome back. We are now going to be detailing out the inside part here, underneath the mandible shard here. And that's going to be concluding our side detailing which we'll be moving on then afterwards to the overall finessing and cutting up these pieces utilizing the chisel curve brush. So to get us started and recap, I did a overall Boolean mesh on the mandible shard and then duplicated that mesh and mirrored it over to the other side here. I'm still, since my poly count is getting a little bit heavy, I'm going to keep everything off the sub tools here. But one thing to note, I haven't brought my eye and yet, And I'd, just because I wanted to maintain a relatively light of polygon count, I didn't want to overdo it. But if you want to bring your ion to see what that looks like, you're more than welcome to going to just keep that out until the very end here. So to start off with, my sub tools are all in order. I'm going to turn all of them off though, so that I can just work with the AI arms or I'm sorry, the under part here and to deal. And also I'd like a little bit more of frame rate to work with here. So to get started, this is going to be an easy one. Again, this, this isn't going to be too terribly difficult. What we're going to do is we'll start off by appending a cylinder into this and working with a cylinder to start off with, I'm going to turn off actually my helmet as well. So to go take it from there, let's go ahead and divide this three times. And then I would like to turn this and cut these pieces up either with a trim curve brush or a clip curve. I'm going to play safe and use trim curve because I'm going to turn this into a Boolean and I don't want to have to deal with any non manifold geometry. So once again, going through geometry, I'm going to have to delete the lower in order to use my trim curve brush. And then holding Control Shift, I'm just drawing out a line and to flatten it out and drawing outline once again, to flatten that out. In one more time, I'm going to be drawing out a line to cut this in half. And now I'm just going to work with my manipulator. This point on I'm scaling this down. Like so. If you feel any need to sort of cutting like this, you are more than welcome to. And this piece right now is going to act as a Boolean sculpting. It's going to act as the first of a Boolean sculpting piece that we're going to be using. So to go back up, Let's turn our helmet back on. Then sub tools. And we're still unsub tool that reflects our semi cut cylinder here. And just kinda watch what I'm going to do along here because you may have to do this a couple of times. Oops. The idea of what I'm trying to do in all of this is that I'm trying to cut holes, a sort of the sort of space inside of all of these holes using strips. And to do that, we're going to have to actually work with the geometry of the Boolean we have here and work with trying to manipulate it through possibly the gizmo to formers. So before we go any further, if you have to hit pause on the screen, try to get to this point where you're seeing right now. Because the next part is going to be quite relevant. And that will be to turn this into a Boolean mesh. And you see right here. So if you can try to get it to be in this state right here. We kinda just using this to cut along here. Little debits. Poetry is as shown right here. So that really means working in financing around with the gizmo 3D manipulator. I don't want to go too far into this and just go pass because this is again me working with the gizmo 3D manipulator to find a shape that's going to work here. And when finding that shape, unfortunately, it takes a little while to find it. So I'm going to hold the the shipped for wireframe to give you an idea of where the angle of these pieces are and how you're supposed to be cutting into them. So you can see it's sort of like the angle out here. Let me turn solo. Honestly, you can see it's this part. These parts right here. These parts right here are what are mainly going to be cutting in through that kind of angle. So again, this is you trying to take your time in finding those pieces. And remember, as I duplicated that Ike hit Control to translate, I was duplicating the Mesh, not the sub tool. And make sure you have a mask on because you don't want to be able to this right now. This bigger pieces on masked, this piece is masked. So I'm gonna do this one more time control, then translated ground so I can get another piece out. And I'm going to oh, pardon me. I'm going to go ahead and once again draw out a piece for you. And it kind of cuts off there. So I'm going to have to rotate this around so I can get that back a little bit. And as you can see, trying to maintain somewhat adequate spacing right there. So you want to try to get that as a result. So please hit pause on this tutorial and try to maintain the same angle that you're looking at here. It may take you some time but just go for it. It will be worth it. So once you hit unpause, I'm going to show you the next step on where to go from there. And I'm just going to assume you hit on paused. And so what I'm gonna do from this point on is I'm again going to turn off the sub tool, append another cylinder into this. And from that point on, I think we're going to be getting, we're going to make this tutorial will too long in terms what we show you next. So I'm going to save that now for the next tutorial. So please take your time in how you try to establish the angle and all of these. And just, it gives you excellent, excellent practice working with the gizmo 3D manipulator. I know that it helped me a lot in understanding it. And that's one of the biggest pros about this particular lesson is you reall