Transcripts
1. Introduction: In this course specifically, we are going to learn how to model a 3D shoe. So we're gonna use these reference images to trace the outline and make a 3D model. So we'll begin learning how to set up our reference images so setting them up properly for the best workflow. So if you went to the right or the left hand view, we can see there's reference images, but they disappear when we move around the viewport. Next, we'll start modeling the 3D parts of the sole of the shoe. Next up we will learn how to make a 3D model that looks like a sock. And then we'll learn how to scope that fiber to look like the shoe that we are trying to make. We will then combine the sock and the soul. So this is quite simple shoe to make. So it's a great project to learn the basics of blender as we're making just the sock area and the soil area and then combining them and applying materials to make the finalized muddle. Hi guys. This course is for people who want to learn 3D modeling software like Blender with a fun fashion twist. So there are many, many, many blend of videos out there, but this course will hopefully be more stimulating to those of you interested in making 3D clothing or fashion orientated material. So I'm a lecturer at London College of Fashion and students are becoming more and more interested in digital fashion. So I'm sharing these courses to help others who are also interested in learning 3D modelling for fashion.
2. Insert Reference Images: Firstly, go online to search for and download some reference images of this speed shoe tries to download images from the top and bottom, left and right, and the front and back. So these images from different angles will make it easier for us when we start modeling. Step one is to delete the default cube because we don't need it. So click on the cube and press on the keyboard, and then click delete. A computer mouse is recommended for 3D modeling a lot more than a laptop trackpad, because we will want to use the scroll wheel and the mouse buttons frequently. So grab one if you can and have more patients with a laptop. If not, if you press the middle mouse button down and move the cursor around, you will rotate the viewport. This X, Y, Z, or red, green and blue axis on the top right will rotate to match. You can also click on this axis and drag it to rotate the viewport. When we add our reference image, it will always be facing us. So if I add a reference images was looking at my viewport from here, it will be on an angle. And if I add my reference image here, it will be a different angle. But we want our reference images imported flat on the x, y, or z axis. So instead of trying to use our mouse to navigate tuple to be looking directly from above like a bird's eye view, we can quickly jump to the top of a graphic view by clicking on the zed on this axis on the top right. Or we can hold down the tilde key. So the til, the key looks like a wave. To open up some options to jump to multiple orthographic views. So that's good to a top orthographic view, which is basically beds eye view. And then hit shift a to bring up the Add menu, go to image and click reference. This should bring up a window where you can browse the files on your computer. So locate the top reference image and click Load reference image. So this is what we want. We want our reference image flat like this. Label your reference image in the scene collection on the top right of the screen by double-clicking it and typing top, we need to repeat these steps for a reference images. So go to the bottom orthographic view and import the bottom reference image. Remember to rename it. Notice that these images are on top of one another. So use the same collection to select the top image. Then move up by going to this third icon on the left-hand side, which allows us to move an object by clicking and dragging the red, green, or blue arrow that appears. We need to repeat these steps for all of the reference images. So you end up with something like this.
3. Adjust Reference Images: Once all of your reference images are in, we will likely have to reposition some of them so they line up. For example, I need to bring the side view up along with the front and the back image. So the bottom of the shoe lines up. Now to keep organized, goto, the scene collection on the top right of the screen, right-click and click New to make a collection which is basically a folder, call it reference images and all the images inside. Then we can toggle the visibility of these images separately by clicking this small icon. Or we can choose to hide all of the reference images by hiding the whole collection. This can become useful later on. Now that's the upper reference images, so they're easier to work around. Click on any reference image and go to object data properties on the bottom right. Here we can adjust the opacity if we check use alpha, then adjusts the transparency below. But they optioned by CTUs is this display only access aligned? This will make the reference image invisible when we are rotating around the viewport. But a appears when we snap to orthographic view. Apply this to all of the reference images. So the image is only appear when we need them.
4. Edit/Object Mode: Once you have all the reference images that you can hold down until decay to jump to any orthographic view. So the right hand side, for example, or the bottom of the shoe. And we hold down the middle mouse button and move the cursor around, the reference images should disappear so you can focus on the model that you're making. For demonstration purposes. I've just added a cube into this scene. We are currently in object mode, but if I click on a cube and I press tab on the keyboard, I will go into edit mode. So hitting tab on the keyboard just jumps between edit mode and object mode. You can also do this by clicking the drop down menu on the top left, but that's much slower. Inside edit mode, there are three different modes of selection. So vertex lacked, edge select and face. We face select. We can select any face of an object. With edge select, we can select any edge of an object and a vertex select, we can select any vertex, so any corner of an object. The letter g on a keyboard is the shortcut for move. So if I tap G on the keyboard, I can move this selected vertex and I can move in any direction I like. But often we want more control over this movement. So by hitting either x, y, or z on the keyboard, I can snap that movements so it is restrained on the x-axis or the y-axis or the zed axis. So implant that x axis is the red line, the y-axis is the green line, and the zed axis is the blue line. We can do the same with edge select. I can select an edge and I can press g to move it in any direction. But if I only wanted to move this edge up and down, I can press on the keyboard to snap that movement. And again you can do the same and face select I compress g to move a face and X, Y or Z to snap the movement in a desired direction.
5. Create the sole - 2D Vertex Manipulation: Our first step is pressed the tilda k. So the key that has a symbol that looks like a wave, then jump to the bottom of the graphic view. So I'm going to hit shift a, which opens the Add menu. I'm gonna go to mash, which is the top option, and I'm going to add a plane. Now plane will just be a flat 2D squared. And I'm going to press S to scale this down. Just so it is approximately the same height as this center black section of the soul. I'm going to zoom in a little Urba. I'm gonna press G to just maybe up slightly. And I want to increase the width of this plane here. So I just need to press S to scale it. Scaling an object automatically scales it proportionally. So we have to press either the X, Y, or Z axis to scale it only in one direction. So by pressing on the keyboard, I can scale this plane only across the X axis. So I'm basically increasing the width of this plane here. And the moment we don't have to worry about being perfectly accurate, we just wanted to get the general idea of the shape. On the top right-hand side of the screen, there is an option to toggle x-ray mode. By activating x-ray mode, we can see fruit object that we have made, which allows us to see the reference image and use as a guide to our modelling. By clicking this drop-down menu on the top right hand side. We can adjust the opacity of the object in x-ray mode. Now if we hit tab to go into edit mode, we want to choose a vertex select. Inside edit mode, there are three different modes of selection. We also want to add some loop cuts to our plane. So if we hold down the spacebar, There are a lot of different options that appear. So if you do forget your keyboard shortcuts is a really helpful reminder. So we can either select loop cut here or the short cup that is command R. And by moving the cursor around, we can select where we want to make a loop cut so we can even make it horizontally or vertically. It may take a while for you to find the option for the horizontal cut. And we want to click to confirm that we want to make our loop cut horizontally. Once you've clicked to confirm our loop, could we get this small menu on the bottom left-hand side? Here we can change the number of cuts that are made. These cuts simply divide up our object. The more cuts we make, we are effectively adding information and we make our model more complex and increase the rendering time. So we want enough cuts to create an accurate shape. But not too many cuts to our rendering time will be majorly increased. For this purpose, I'm just going to choose five loop coats. I'm going to go back to my select box with that text mode selected. So I can select my fast vertex and move it accordingly to trace the shape. So click a vertex and press to move it. Repeat this process. So we trace the shape outlined by the reference image. But don't be too accurate. We want to keep everything simple at this stage. With this very simple outline created. If we hit tab to go into object mode, we can check the very simple outline of our object. And we want to go to modify our properties tab, which looks like a small spanner wrench. And we wanted to add a modifier to this object. So if you click this drop down list, there are lots of different modifiers and blender. But for now if we just concentrate on the subdivision surface modifier, you can see that this has smoothed out object. If we press tab to go back into edit mode, I'm going to turn x-ray mode off. Just to show you what's happened here. The subdivision modifier has basically smoothed out our object by decreasing its size inside of vertices that we outlined. So once we've added this modifier, we will need to go back and re-edit this shape accordingly. But before we do that, we want to increase these viewports subdivisions of 23. That would just increase the smoothness of the object that we can see. And we want the render subdivisions to match that. So change both to three. By pressing the small icon here that looks like a computer monitor, we can toggle the visibility of modifier. So if you have no idea what a modifier is doing to your object, you could try and investigate by toggling the visibility on and off. By switching x remote back on. By hitting tab to enter Edit mode, I need to move these vertices one by one. To try and trace the outline of the reference image behind. Keep pressing Tab to, toggle in and out of uptake node and edit mode to clearly check the perimeter of the object. You can move multiple that disease a onetime by hitting shift to select more than one. Remember that it doesn't have to be perfect because not all photographs, all perfectly orthographic. I'm going to name this plane I created. So I've created this fast middle section of the soul.
6. Complete the sole - 2D Vertex Manipulation: So I've created this fast middle section of the soul. Now I'm going to create this second section. So in between the middle and the toe. So I'm going to press shift a and add another plane. I'm going to pass es to scaled-up plane down. Press a key on the keyboard to move that plane. Now, I want to scale it up again, but only on the x axis. So by pressing X on the keyboard, I can now press tab to go into edit mode. Now we want to make our loop cuts so we have more vertices on the HGL. So press command and move your mouse around until the loop cut appears horizontally. And we just want to click to confirm that. And just place the lip cut around the center of the rectangle that you've made. And I'm going to increase my amount of cuts to maybe five. I'm going to go back to the select box on the top left-hand side of the screen. I'm going to jump over to edge, select the shortcuts for the vertex, select, edge, select and face select. I'll just 123 on the keyboard. So notice if I press one on the keyboard, it is for vertex select, t2 is for edge select, and three is for face select. So I'm going to pass it to and go to edge select. I'm going to select this bottom edge here. And I'm going to scale that edge down here. I can move this edge around. And I'm just going to move it to approximately the beginning of this Extrusion here. And I'm going to press E on the keyboard. E is the shortcut for Extrude. So by extruding this edge, I get to create another edge which extends from the original edge that I had selected. So I'm going to drag that to the end of that piece of the soul. And I'm going to press S again on the keyboard to scale that down roughly. So again, we are modeling the section quite empathically as we're going to adjust the again later. So you can either adjust the shape of the object you're creating by selecting each of the separate vertices or the edges or the faces. At the moment, using the edges is quite useful as we can rotate and scale. Rotate and scale. Once we have the approximate outline of the shape, we need to add subdivision, modifier, subdivision. And we can toggle x-ray mode on and off. And we need to adjust the shape. Again, remember to change the number of subdivisions in the render option and the viewport. So change them both to three for a much smoother outline. For me, this shape will suffice for now. And I'm gonna go to the top right hand side and I'm going to rename that middle front as this is the middle. This is the middle front. And this section here will be the front section. So we need to go ahead and repeat that process for different section and these two sections. So this process will take some time as you are individually moving vertices and edges. But you will notice that the front section and the middle friend section are similar to the back and the middle back section. So we can duplicate them and just edit them FERPA, which will save as a bib time. This section, I'm going to make some cuts by, I'm going to make them vertically. Going to hold shift and drag all of these edges and I'm going to press OK to make a rotation. So notice how I begin modelling with everything being very basic blocks. So press R to rotate a to select all of these points. And I'm just going to pass es to scale it up a bit larger. Hold down shift and select all these edges. Now I'm going to add my subdivision. Remember to change the number of subdivisions to toggle on and off and adjust the shape. Coding Lee. Passively, I want to pay more attention on how much this front section fits into this middle section. So I want to pay more attention on how these fit together, then perfectly tracing the reference image that is behind. Sometimes you can select objects that you have made and you can duplicate them by pressing Shift D. And I'm going to rotate the section. And as the front section looks very similar to this section, I'm just going to use that shape. And so I'm gonna go over here and rename that to the back. And press tab to go into edit mode. And of course, adjust the shape accordingly. So toggle x-ray mode on that shaped I've made suits me now, I can always go back and edit. I'm going to take the middle section and I'm going to press shift D to duplicate that section. The first thing I'm going to do is rename it before I get confused. So middle back. And I'm going to rotate that a 180 degrees. Scale that down. And press tab to go into edit mode and adjust the shape. If you have more of that sees, then you feel like you need. You can select these Betsy's and right-click and dissolve the vertices. And quite happy with this shape. So we zoom out, go into object mode. And if we rotate the scene, but we should have is What kind of looks like the bottom of the shoe.
7. Make 3D - Extrude the shapes: When making 3D object from reference images, we often start with 2D objects and, and make them into 3D shapes following the guidelines from all of our reference images. If we select these five sections here and hit tab to go into edit mode, we can press a to select all of the vertices. And to make these 2D plains 3D, we just need to extrude them. So we press E on the keyboard for Extrude and lift our mouse up. And we can pull this poll, these objects up into a 3D object. If we hit tab and go back into object mode, you can see that we've made them into 3D objects, but they do look quite balloon like. So we need to add loop cuts to have more control of the shape. So if we go back into edit mode and we press command R, we want to make a horizontal loop cut. And if we scroll our mouse wheel before we click, we can choose the amount of loop cuts that we can make. Want to make three loop cuts per section. And if you click that, I can now move my mouse up and down and choose where I want to place the loop cut. And I'm just making it up and down so you can see what effect that has. So it allows us to have greater control of the shape of the object. So I'm just going to place these deep cuts in the center of the object. And I'm going to repeat that process for these other sections of the soul. So command our scroll your mouse wheel to make it three loop cuts. And placed them in the middle. Again command R three the cuts and place them in the middle. So commands are three, loop cuts and impress twice. And command R, three loop cuts. And if we press twice that, if you don't have a mouse, you can change the amount of loop cuts here in this menu. Now we hit tab. You can see there are a lot less balloon like than they were before. And it looks a little more like what the shoe should look like. At the final stages. We can see the square surfaces here. So once we have all the sections of the soul selected, we can right-click and shade smooth. Lets number the sections 12345 and number them up here. So one is the front, towards the middle front. Three is the middle. Four is the middle Bach, and five is the back. This just makes it clearer in the list. My objects in the viewport have random codes assigned to them. This makes it really easy to differentiate between the different objects in the model. You can do this by going to the top right and clicking on the drop down menu near the shading panel. And the color, there's an option for random. If you have applied custom materials and colors to your model, you may want to set this to material. But if you were at the beginning of your model and you were just trying to get the shapes right. I often slack random, which is more exciting than looking at a lot of gray objects.
8. Curve the sole - Bezier Curves: Let's go to the left or right-hand side views. I'm going to turn my soul objects. And I want to point out that most shoes are not flat on the ground. They calve up here and also at the back, sometimes like this. So we need to calve these objects to make them more realistic to reference image. Now there's two ways that we can do that. We can manually get each section of this soul and rotated position and then adjust it. Or we can cap the soul by adding a BCA CAB. So if we hit shift a and we go to keV and then hit desi a cav. You might not be able to see anything here because the cab often will land flat by default. So we need to rotate this cab here. The easiest way is to go to the Object Properties tab and change the rotation. So rotate on the x axis by 90 degrees and the zed axis by 90 degrees. Now let me go back to our side view. We should be able to see the CAB, but the reference image is in front of it. So we just need to move our curve along on this x axis. So now we can see this tab here. And we have the cab selected and then we go into edit mode. We can see more details of what's actually going on. And this cap has two points, which is this point here, which has this red line that we can scale down and rotate. And we also have this point up here which we can scale down and rotate. So i want to shape this curve, so it follows the cab of the shoe here. So I want to get this point and I'm going to press g. And I'm going to start fab aback then the shoe. And I'm going to carry on the curve at that fiber. Then when it stops, I'm going to position this curve in the middle of the shoe. And at this point I'm going to hit and extrude this cab even fibre and rotate this point. If you haven't used this before, it may take awhile to get the positioning right so it follows the outline of the shoe. You can scale the point of the calves. Okay, so I think I've done a pretty good job here. It doesn't have to be perfect. I added this point in the center because if you pay real close attention, the soul actually changes a bit here. Let me hit tab to go back into object mode. This is the curve I've made. Now if we turn the soul objects back on, so if we make them visible again, we need to make these sole objects follow this curve. So let's do that with, we select the sole object and we add a modifier. So we go to this wrench icon and we add a modifier. And we want to add the cab modifier. And not much should change when you click that, because we haven't selected an object for this to follow the cab of. So if we click this little eyedropper tool on the object, we could try and find the calf within the viewport. But if you have a lot going on inside the viewport, it's often easier to just find it in the list of items on the top right. And once we click that, what often happens is this section will have shifted to the left or the right, probably more than human dimension. Which is fine because we can just shift it along the cab now. So if I make the soul objects not visible so we can see what's happening here. So if I press g to move the soul along the y-axis, you can see now that I can move this piece of the soul along this curve. So you can imagine that this would make quite interesting animations, but we're not gonna go into that right now. But I'm gonna push this section of the sole right to the end to the toe that you see as we bend the sections, we will need to further adjust the shape. But I will leave it there for now. And then we'll introduce the middle front section and basically repeats that. So we add a modifier omega two keV, and select the eyedropper tool on the object and select the curve again. And we want to press to move this, but we want to only move it along the y axis. And we want to move that fiber along. You can see how nicely they will fit together as they're following the same cab. And again, repeat that same process. So I had to modify it, go to and it's like the BCA CAB and then move along the y axis. These objects are possibly going to collide as we move them along the curve. But don't worry too much as we haven't modified the shape of these yet. And repeat Thai cancer via, via mixer we select. And the final section when AdMob via along. So now if we take a look, what should have happened is it does look a lot more shoe like this. Bitmen squished up here. But once the shoe, the soft power of the, she was on top of that, we won't see it. And we can now edit the shapes of these different parts of the soul. But if we select it and hit tab, you'll notice that this will go back to its original position, which makes it difficult to edit what it will look like when it's at the position on this curve. And the same will happen for each component. So what we need to do is we need to permanently applied the modifier. And we do that just by pressing the apply button and let me click apply on the modifier. This will remove the modifier from this stack or list of modifiers. So we need to repeat that for each section. Now if we hit tab to go into edit mode, it will remain in that position. And we can hide the cab now or we can delete it after unhide it just in case I need to refer back to it. Perhaps I will need it for the sock section of the shoe. My objects in the viewport have random codes assigned to them. This makes it really easy to differentiate between the different objects in the model. You can do this by going to the top right and clicking on the drop down menu near the shading panel. Under color, there's an option for random. If you have applied custom materials and colors to your model, you may want to set this to material. But if you were at the beginning of your model and you were just trying to get the shapes right. I often select random, which is a bit more exciting and looking at a lot of gray objects.
9. Shaping the sole - 3D Vertex Manipulation: If we press the tilde key and go to REI or left-hand view. We will realize that we need to customize the shapes, fervor to follow the shape according to our reference images. And I'm going to begin by customizing the shape of the front soul section. Therefore, I'm going to hide the other sections of the soul. I would advise these x-ray mode when adjusting the 3D shape. But you may be wondering why. So X-ray mode allows us to select all of the faces at the front of the object and the back of the object. If we turn x-ray mode off by pressing option Zed. Now if I select All of this object, we've only selected the faces that we could see. So X-ray mode is really useful to select edges, vertices, and faces that may be at the back of the object. With x-ray mode on the top, I'm going to begin by selecting all of the vertices, and I'm going to scale them all down on the zed axis. I'm going to press g to move this area. I'm going to use the select Ubuntu to select the front area. And then going to scale the front area down where it becomes narrower at the toe. If we look at the bottom view, I realize I only want to scale it on the zed axis. I then want to select more vertices by holding down Shift and then want to press g to move these altogether. I'm always looking at the top view and the bomb view to confirm what shape I am making. So I'm pressing g to move and R to rotate. Once I start changing the shape of this object, the wire mesh becomes quite difficult to work with as all of the vertices overlap in quite a complicated way. If we go to our subdivision modifier, which is inside the modifier properties, and we go to this small icon which is an upside down triangle. This makes it much clearer to understand what vertex we need to select to change the shape of the object. I can now make further adjustments. With x-ray mode on. I'm going to select all of these vertices. I'm going to press G to slide them upwards and going to scale them. But only on the zed axis a to select all of them. And I'm going to scale them all down on the zed axis. Then go into press g. And I'm going to move them all down on the zed axis. Looking at the reference image behind the model. And now want to try and make the Betsy's followed this area of the soul. So I'm going to select all of these vertices. And I'm going to press R to rotate them. I'm not going to press g to move them MRI orthographic view. And I'm going to scale them on the zed axis. I'm going to select these Betsy's again, which I can confirm the correct Betsy's in the view below. I'm going to scare them a bit larger on the z axis. And I'm going to select all the remaining vertices and adjust their position. Again to scale them down on the Y axis. We can make further adjustments to this shape. Later on, I'm going to move over to the next part of the soul, which is the middle front. In object married. I'm going to select that area. And I'm going to go into X-ray mode. So I can see this shape of the reference image. This Extrusion here in the middle section of soul, and also at the middle section of the soul, can become distracting when we're trying to edit the shape of this area of the soul. So we can jump into edit mode. And in x-ray mode, we can select that whole area of the extrusion and we can press H to hide it. This gives us more clarity to work with the shape. So if we press a to select all, we can now rotate this shape and modify it to match the reference image behind it. Once you happy with the shape Beacon Press option to reveal the hidden geometry. These steps need to be repeated for each section of the soul. And I'm sure you don't want to watch me move hundreds of separate edges, faces and vertices. So have a go shaping objects from the left and the right orthographic views and come back here. Remember it's useful to split your view either horizontally or vertically, and toggle x-ray mode on and off. Also, don't forget to use that upside down triangle button on the subdivision modifier to make your wire mesh easier to work with.
10. Creating the sock - 3D Subsurface Modifier: The first step is to the top right of the screen. Right-click and make a new collection. Double-click this collection and rename it to something like Salk, similar to the soul objects. We're going to begin simple and then add more detail. So we're going to press shift a go to mash and then add a cube. Now if we even navigate to the right or the left orthographic view, I went to press S to scale this cube down. So I wanted to be approximately the same width as the SOL and then went to press g to move the cube. And I just want to place it around this ankle area. I'm now going to press Tab to go into edit mode. And I'm going to press the number three on the keyboard to go to face select. So if I now click on the space, the one closest to the toe area, I can press E to extrude this region. I want to extrude this through around where I assume the beginning of the toes are. And then once press E again, I make another extrusion to approximately the end of the shoe here. And I'm going to select this face. So this will be the ankle area at the foot area and the toe area very approximately. And I want to press E to extrude this face. So we have a very simple outline of the shape of a shoe or a brute. Now if I press tab to go back into object mode and I go to the modifier Properties tab. I want to add a modifier and choose subdivision surface. Change the number of subdivisions to three. Then right-click that shape and click shade smooth. This should give us a shape that looks like a balloon saw. Ok. So I'm going to press Tab to go back into edit mode. And I'm going to select this top face here and press on the keyboard to delete the fates, which should give us an open-end, which is more like a shoe or a sock. Now I realized that the sock doesn't quite meet the end of the Soul area. So I'm going to hold down shift and click these two back faces and press g to move them, but only on the y axis. Now it's really important to note that your model might look different to mine. You may have extruded these areas Farber. Your soul may be a little wider. So please just take what I'm doing as guidance and tried to inspect your own model and make the modifications where you think is necessary. So this section now looks a little too broad for me. So I'm gonna move this section back. Most are going to select this end face here where the pterosaur and scale that down only on the zed axis for now. And we can jump to the right or left orthographic view and put x-ray mode on to look at the adjustments that we should be making. So you can see that our model is totally inaccurate to the reference image behind. But that's okay because we can adjust that by holding down Shift and dragging the select box over these top faces. I compress g and adjust the location. And I'm going to scale the area down. I'm not going to select these faces and press g to move them. Nuggets like this region and scale them down on the zed axis. And press R to make a rotation and then move it down again. So lots of small, little adjustments. Using this bottom half of the screen, I can select this face here. And I'm going to select this face at the heel of the shoe and going to press R to rotate it. So I can get a bit more depth to the Hill. And I'm also going to scaled-up phase on the zed axis. So you're constantly be moving, resizing, and rotating different areas of this sock shape, just like we did with the sole sections of the shoe. So this shape looks okay from the side view, but from the front or the top is very square. So let's try and change that. So I want to select the face at the very end of the shoe. And we're going to scale that down on the x axis and move it on the x-axis. I'm now going to press one on the keyboard to go to bed Tech Select. And I'm going to select these vertices here. And I'm going to move this vertex more inwards to make the base of the footing more narrow, but the heel of the foot becomes broad again. So I'm going to select this vertex and move that on the x axis. But now this region slightly overlaps the sole of the shoe. So I'm just going to move that again, but on the y axis. So remember that the shoe becomes more narrow at the ankle area and repressed tab to get back into object mode, we can check what's going on. Once you have been modeling for awhile, you will learn and understand where you need to make these adjustments. So if it's the first time you've modeled something, it will take time to get it right. For example, here, I realized that I need to make a loop cut. If I press Command are, I want to make a horizontal loop code. And that just allows us to bring a lot of the material downwards to the base of the shoe and going to scale that loop cut. And now again make more adjustments. So for example, these two that sees here, I'm going to bring them back on the y axis. Whereas these two vertices here, I'm going to bring them forward on the y-axis and a little bit higher. So you can see what I'm trying to do here. So I just wanted to make the toe area to which the sole of the shoe here. So if I press t2 to go to edge select. And if we go back to the side view here, for X-ray mode back on, we can double check what's going on here. Usually you will have to keep making more and more adjustments. And remember if this mesh is to compare it for you to work with, you can just click this upside down triangle icon, which places the match on top of the sock area. At this point, I still do use a reference images, but I prefer to use my common sense on what she should look like.
11. Completing the sock - Sculpting Tools: By moving these Betsy separately, you will ever get to a shape you happy with or the mesh will feel too difficult to work with and you will feel like you want more control is here that we can jump over to the sculpting tab. Now some people seem to be able to work in scope Mode much easier than other people. So don't be disheartened if you can't work this way. Firstly, if we click on the sculpt tab at the top of the screen. In this tutorial, I'm not going to extensively covered the sculpting workspace by D1 to show you the elastic deform to as amaze, eschew in achieving a good shape to your model. The elastic deform tool is the third yellow icon on the left-hand side. The other circle that follows your kasa is a really intuitive feature as it lies flat on the surface of your model to hint at the direction that you will be pushing or pulling in. This is very useful in more complex models. You can change the size of this yellow circle and the size of the area you will be sculpting by adjusting the radius option at the top of the viewport. To the right of that, you can also change the strength of the tool. Personally, I found that the elastic deform tool was useful for the toe area, the ankle area, the heel, and the inner arch of the foot. If you hide the soul objects, try the elastic deform tool on your model and see how you find sculpting workspace. I'll be releasing new sculpting videos, so keep your eye out for that, but try and get the most accurate shape that you can. As next, we're going to add a simple color to the soft power of the shoe, which finish up our model.
12. Finishing the shoe - Adding thickness and simple colour: So finally, once you're happy with all the shaping and scoping, which by the way, you will be able to do more quickly with practice. Don't worry, we can now add some thickness to this so-called shoe area as y. Now it's incredibly fin, which isn't very realistic. So if we go to the modifier properties icon on the bottom right, as we want to add a modifier that will increase the thickness force. So if we click on add a modifier and find the modifier called solidify, that should already make a difference to your model in the viewport. If we click on view post shading by clicking on the third sphere on the top right. This will remove my random coils. So remember this modifier properties area has the subdivision modifier listed at the top of the stack. And our solidified modifiers underneath that, you can minimize the modifiers so you can view them more clearly by clicking the small arrow to condense them. With our solidify modifier, we can change the thickness. So depending on the scale you were modeling at, you may need to change the thickness to something that looks good for you. So that's obviously a bit extra here. It's really thick, but if I decrease this until I'm happy with it. So around 0.05 or 0.07 works for me here. To close the split view, we need to just hover over this horizontal line, right-click and then choose the area that we want to close. Now the final thing that we want to do so with nearly there, we want to add a color to the sock area so we wanna make it black. And to do that, we need to be in object mode, select the sock area and go into material properties. So this icon here on the bottom right. If we then click add new material, we're just going to do this in the most simple way here by changing the base color to black. Or you could change it to any color you desire. If we look at the more advanced options below and adjust the roughness, you realize that this effectively means the glossiness or shininess of the object. So if I push this down, the she becomes really reflective and we can see the default blender trees here. So we don't want as the shoe is mad, so increase that back up. And then Guys, we should basically be finished. You can render that image up by going to render and render image. But check out my other videos on tips for rendering high-quality images and animations. Keep checking back for more content to, as I'll be releasing more cool projects hoping to help you guys book Great portfolios.
DigitalFashionSchool, Designer & Lecturer in London
