Character Sculpting for Games with ZBrush

1. Introduction: W. Hi, guys. Do you want to learn how to make fast characters with a clean workflow. Welcome to the Release Characters for Game cures. My name is Daniel Da Costa and I have over 13 years of experience in the TD world. I currently work as a TD character artist for Vander Games at California USA, and I will be your instructor during the cures. In the third part of the course, we're going to focus on the hypo process. We're going to create the complete character from the sphere, and we will scoop the head, torso, arms, legs, feet, later, and do all the fine detailing. We will have the hypo ready for the next steps, where we're going to make the T. So if we want to do a quality and fund project, this is the ideal cures for you. So come with me and let's rock. 2. Meeting The Character: Well, guys, welcome to our first video here, this eres, this will be the character that we're going to do. And this is the first part of the ques. The cures will be divided in two parts. This first one we're going to make the hypo. But when I say hypo, have some parts that we're going to make on the second es, for example, the hair. Eye lash, the hair and the fader here. So we'll be done in the second course because it is done when we are doing the tissure. So second curse, we're going to make the red pool g, open DUVs, and make the tis sure. And this first course, we're going to make this part here that it's the high poly. So we're going to start from a sphere, and we're going to start blocking out the body, the head, the face, and then we're going to refine adding the clothes, and then we're going to refine part by part. So how you can see it, this is a character more clean, more as, but it's a character that requires a good technique, for example. So it's something more like assasin scrit, something like that. It's a good reference too. But I'm talking about anatomy. And we'll be a cool character. So We're going to see all the parts step by step, how to tiscope the hands, how to detail and the hands, for example, we have the feet here, the nails, the latter. This part here, we're going to make on the tissure, in the tissure to apply the fact of ropes or not. Maybe we can make other aspect, but well, It's a great course. And just to remind you any question that you have, will be a please help you and answer you. So let me know. And it guys, let me get started or is and see you in the next lesson. 3. Starting the skull: Hello, guys. How are you doing? Well, finally, we're going to start semi realistic. It's realistic, but it's semialistic. It's kind of similar with Dale and Gata four game. So we can call it of realistic, but into the realistic world, we have different subjects. But we're going to try to make something on this visual. And we're going to pace. We're going to use as a reference these guys here. This character was done this version from Rafael Rossetti. I think it was done two than eight. Yeah, yeah. It's 200 weight. Yeah. Well, let me see, the number 2008. Yeah. Whoa, my God did a long time. And we're going to try to make a red sign. And here we're going to go to this anatomy. This guy here is from ***. So this is exactly anatomy. So this guy here. As this anatomy here. So we're going to try to make something like that. It's not a likeness, but we're going to use it as a reference, and we're going to start trying to block. So the secret for this character will be this feeling. It's a tall guy. But the anatomy here is tm extremly important. But it's not tremly realistic anatomy. It's a mix set with a semi realistic little bit of stylized and realistic anatomy. So we're going to try to bring this feeling out this feeling. It's realistic, but in the same time, it's not realistic. So this feeling is extremally awesome and very hard to get. But, well, I'm here to teach you, and I love love this challenge. So let's go. Let's to challenge our self. Let's to challenge ourself, yeah. And let's go. So here, I brush. Let me go to initialize the rush pros. I like to click on initialize the brush to increase the Comvas here. And I'm going to reduce the gradient map. Range Set 20. The first thing, what we're going to do is let me see, bring Sphere pres Let me select the urine material. We can use Yeah, can be disciing all these meta caps here. I have download that from Internet from Zbrush Central. And let me active the perspective. It's not the cared perspective. Let active the symmetry, preference, quick save, delete the quick save. Okay. Let me set a different color here can be more this way. Yeah. So let's go. Let me use this spot this spot. Yeah. Let me make just a very fast base. Tm active make polymat base ma the heat. Um acti dynamis here. I'm going to use a low resolution to dynam. How I say you, I don't like to work with realist with a high resolution. So here I'm going to try to find the egg shape to the head, similar with egg shape and a helmet too. So something like that, and here the jaw line. So let me see here, the jaw line and the helmet shape. I school shape to, it's mark to mark. It. Let me see. We are working with more African style, so we're going to try to bring this ethnic and this feeling. So we have the month, more concave convex. I think it's concave or concave. Let me use the hy policy here. I'm just blocking. Let me create this strong landmark to the jaw. Let me see here. I can use the hypolsy here too of this part. That's okay and here I have this protuberance. I'm going to make more stylize this guy. So I have this This filling here. Let me search here. Let me on Internet here. And basically, we have the cranial and the difference between the ethins. African Asean and uropal. So basically the male African, we have the distance here, it's not to score here. It's more on this way. So let me bring here. That's okay. Let me like this guy here. Smart to get this feeling only. We have this shape here. More or less, it is not a role. It's not a specific role. Here we have the iot perspective, of co, and this goma here more or less. So Let me just mark it a little bit. Just grade this little landmark. L et me see here. Yeah, try to bring this way. Yeah. Let me bring the zygomatic here. Let me cut to dial directional direction and diagonal here, more or less, and here we have the temporalis region. So how you can say just marking to c this effect. And basically we have this shape. So let me see here, this part. Let me check. I'm going to school effect because, shape because it's easy to adapt that then. In my opinion, of, then we can change the elements here. Let me select the frontal the frontal bone here, frontal sku. Sorry. Let me select. I like to create the things from cranium. Extremely awesome and very helpful. Of course, it's just the beginning. I think that this part here we could bring more up up this w. Yeah. And this part here too, the Zigmat, region landmarks, this part of the jaw line. So it's just to mark very fast. Let me try to bring this part here. The nose. This part here of the head, I think it's let me check here this part to the aisles. It's a little restrained yet, but don't worry, it's normal, the first moment. Have all this region more in front. It's not to make. Of course, it's cool, but we are just playing a little bit more. Let me pass this port here. So let me check. Yeah, can we let me cross the resolution. Let me mark. Let me see here. The zygomatic landmark here. Remember it's just to mark. Then we're going to refine it. Here the nos. Let me see here. The teeth think this region it's more wide it's different. Nodes here too. So let me see here. This part two. Let me use the high polish here. It's I need more wide information here. Let me check. It's better. Let me add this landmark here too. And remove these guys here. That's okay. This part of the month. They de mash. This first landmark. Let me check here y. I'm just playing a little bit with that. To create this first structure, very simple and easy. It's just a landmark. Let me check here. This part. Let me mark this region here. Same thing here. And we could make a lot of things here, but it's not the objective. It's just to mark and get this overall shape, then we're going to fill all these things. Let me see here. Yeah, I think that's okay. Let me make different, something like that. I don't know this structure here. It's not good for me. Happy with that. Let me try to mark this region here, yeah. Try to increase this part here, yeah. Now it's better. So that's okay, guys, in my opinion, that's okay this part. Let me see here. Just create this landmark here. The t landmarks to play a little bit. D. That's okay. Let me fix this part here too. This region more or less. Let me see. Yeah. That's okay. It's not perfectly, but it's to get this over idea. That worked well. Try to create this landmark here. I think that's good. A That's okay. This part time following the school reference yet. We could use this clay polish if we want to bring this feeling. But that's okay for now, it's just this first blocking blockage. I think we can have this part this way and here maybe out. Yeah. This part here of the Zgomaic. Mark your too. Yeah. The sky here, something like that. Let me use the hy polys here. That's okay. Just to mark it. Let see here. L et me check here. Yeah, can be. That's cool. This is the first part, very ugly, but it's not to get a likeness. So now from this point, we can continue. Let me just bring this part here, this volume. Now it's better. This simple shape. Let me s that and concept two brush. And let me set her name, or can be one. Warrior, the line 01. That's cool. In the next video, we're going to continue where we're going to start blocking the other parts of the structure. And we're going to use this simple base mesh to create the at structure. It's an inch process. Let me select this guy here, for example, line, this part Yeah. It's going well, the side it. Yes. That's cool. This is structure is good. Let me I think we can make something more this is Ms angle and the nose part here can be more large. Yeah. M D. Yeah, I think it's better. Yes, let me check from this angle. This structure here. Let's go. See this angle here. Yeah. That's okay. So how you can see the s it's done, this first part. It's a initial process. Let me set here. Let me work with skin. Can be here. Because we have the low polygons, we have this resolution, but don't worry about that. It's just first step. Let's go. Let's continue in the next video. 4. Blocking the Head: So continuing here, guys, you're going to make something more generic. It's kind of the head. It's not necessary to be a likeness. So just let me check this face here. It's good. So well, and here, remember, we are just blocking the first part. So it's not necessary, we got the correct shape and correct elements. But here what are going to do is try to bring the neck. And invert the mask. I need to inflate it a little bit more. It's not inflate, it's the thickness need to be more intense. And here, basically what I'm going to do is try to bring the neck. Yeah, to the neck. Let me update the mash. Or for this part, I can create a poly group, but I can do it then. The neck, it's more diagonal this way, for example, that's okay. Let me see or ize on this way. And remember that guys a little more strong gu, so we need to try to bring this feeling. We will need to try to bring this feeling. But of course, it's very early. This first parts necessarily have to make very very commonly the things. Let me check here, the pectoralis, more or less this sion to the pectoralis. Basically something like that. L et me check here. The muscles here, the tropas. So let me check. This is the base early. First blockage. Then we can reorganize it. It's the first blockage. Remember that. And what are I going to do now, it's a M subdivisions, dynam resolution. Because I let me move a little bit and apply. Because I want to start strike to bring the, the regions here. I can add here to simulate the os. Act transparence, turn on transparence. Let me turn of symmetry to more or less here. Use the Mwalt, Tiv symmetry, aga That's okay. More or less on this way. Yeah. Let me check here yeah and be here. Let me try to organize some things. For example, here, I have the zygomatic, and here I have the muscles of the master to create the jaw. Here I'm going to try to add try to add more elements, more muscles here to create this shape. Let's go and let me update the mesh. Here we have the lips. Let me try to correct the lips from this part, here we have a rb Colo Coli. It's more or less on this way, for example. Let me see. And here the nose. We need to fill this part to the mash. I can use the clay to fill the spar and remove this shape. Let me try to fix the spart. Let me see here in this direction, and here I can remove and try to find the correct shape here. Yes, the ss part a little more strange, but don't worry. Here, also, I can try to add the elements. The b cool cool here too. I'm going to try to the correct elements. Here I have the temporalis. Mosco I can add. So the first part, it's very strange, so don't worry about that. Here I have the nose on this way. Let me try to organize that, something like that. Yeah. Let me try to bring a little bit more of the shapes here. This first moment, it's very normal. Let me add a little of volume here to create the aisle lit, something like that. Have this shape. It's very narrow at. Strange, but don't worry. And here, we have the zygomatic and this part here too, it's a little more clean. This part. Let me update the mesh. Same thing here. The tin. Let me try to make this connection. We need to bring the We need to bring the ear yet. But don't worry here. We are just blocking. I'm just blocking the parts just to get the correct shape. I'm going to add more volume to the mouth. Let me see. Yeah, something like that. The jaw line on this way here, maybe. Something like that. Let me try to mark this part here. Yeah, that's okay. Maybe the, this part I can move up a little bit more. This part here, remember the cranium, mark to this way, and here I need to try to bring to out this part. So let me see here. This region may be too big to inflated. Let press control they're going to return. This shape here maybe. Let me check. I think on this way here. Then we're going to reorganize it, so don't worry. How this part of this region here? Let me turn on the back face mask. P d mash here. Let me see. So let me try to fill this part. Let me check P mesh. Let me see here. That's okay for now. The nose here it's a strange. Let me try to mark it. To mark this sport. So let me see here. Yeah. Of the sport here. Let me create the wings here. So date the mesh again. Here I'm going to try to create the landmark. Let me check here. So we need to organize this part. The first moment, it's very ugly, it's normal have all this shape, not wrong shape. It's strange, but don't worry. We're going to fix it and we're going to get a good result. That's okay for now. Let me see here. I'm just blocking yet. Remember that. It's just a block edge. Let me see here. Try to bring this shape. Yeah, it's very strange yet, but no problem. Let me try to organize this part first. And let me move. Let me up this part here. I created this this shape. So that's okay here and I need to change the structure here. So let me see. Maybe here more in front. So yeah, this first part strange, but that's okay. No problem. It's okay. Let me see other reference. Let me try to bring the nose more close to the mouth. Yeah. And out this part here we need, try to to cut this part here more or less in diagonal. Let me bring a little bit the jaw line, the zygomatic line. Here have the ailes, that's okay. Let me move a little bit, out of the spart. Let me check here to this part. Just to organize a bit the planes of the head, it's a little better. Here more or less to, let me move. Let me date a little bit more here. The nose. Again, this nose seems a little strange, but no problem. Remember, it's just the first blockage, it's a lot of strange. Then we need to try to find the correct shape to it. L et me check here. The the mesh. This part here, it's a little strange yet, but that's okay. How strange. Let me try to find the move. Let me check here. Yeah. Make this landmark and try to bring the landmarks of the lips here. So let me see here. P the mash again. This is the inferior lips. And here have the superior lips. Let me check. Let me see. Let me use the hypolgy on this part here. Here we're going to add volume and here we're going to remove a little of volume. Let me see here. P the mesh. Remove a bit to this part here too. Add two volumes here today, the mesh. Let me use the hyp polish here today the mash again. So the lips are too big, but no problem. Something like that. Yeah. Let me here the hypolsh again. Here we have this landmark of the bone. Let me check. That's okay. L et me see this part here. Yeah, that's okay for now, but of course, we need to fix this elements. But that's okay for now. Let me see here, the io region. Let me see here, try to find something that makes sens, very very early Nitch process. Let me check here this part. That's okay. Remember, it's the first moment here. This traditional cuorlo, the process it slowly and different. Let me update this mesh here too. The nos wings, it's more on this way here. Same thing on this part here. L et me see example here more this way. Yeah, it can be. Something like that. Let me try to bring the year here. Let me check. Let me see here. Rotate that. The first moment, how I say you, it's more to block the things and try to find the element. So it's not easy. It's not. Beautiful. It's very ugly in this first moment, but don't worry. So let me make different this structure here. And this part here. Yeah. So the challenge now it transform it into something useful. It's not beautiful, but something that seems good. So let me bring this part here. Yeah it's a little better. Let me move. So this is true to it's a little strange, but no problem. Let me try to bring more volume here. Date mesh. Let me to fill this part here too. So let me check. So Let me update the mesh again and try to organize the things here. So have the mouth here too. Let me mark a bit more, and here I'm going to mark the birds of the lips. Yes, it's not good yet it's a intense and strange. But it's okay for now. Let me try to fix the ports. Let me use the hypols just to mark the polish port and same thing here. With this part the region. Let me check here. Let me try to mark here too. Let me see. This part, it's very strange yet. But that's okay. 5. Continuing blocking the Head: Let me check here. I'm going to try to add a little bit more zigomtic on this region. Let me see this part. Yeah, I think I need to fix some other parts to organize better it. Let me create this landmark here. Of the year. No, no make sense now. It's a little messed and too strange, but it's the first shape. Let me check here. No, I'm going to keep off this landmark. Yeah. Very strange yet, but we works. We'll be good. Let me use the hypolsh to polish this part a little bit. These lips are like cosmic f. I don't know, some B has pit him. How this struct can change here. Let me play now of the shapes. Let me cut this part here too. The lips can be. Let me move this part and try to create a better formation here. Yeah. This connection here too. So let me play with that. Let me see. Let me use the hylysy here and here too. This line here too. Let me check to this direction. It's better. So how I say you I'm trying to find the elements. Yeah. S. But I think that with this exazur ate part here, it's good to I don't know. I like that this shape. Let me see. Because we have this landmark. I don't know if it's. For me, I think it works well. Let me continue from this part here. Yeah. Let me check it. This first part here. I'm going to try to bring more elements here to pull it a little bit. Try to bring this viso. Let me see here. Yeah, it's a little better. Here, let me remove a little bit of element to create this variation. That's good too, and the secret will be the Ailes information here. If we make it correctly, you're going to have a good idea about the element. I need to make it to organize these parts. So let me check here. Try to create the elite. Maybe I need to extract that. So let me see here and add the more volume here. That's here the same thing. The c of the mouth. That's k. Let me try to bring it here. The lips. Let me try to remove this part a little bit. Try to pass this back part. Let me try to this part here. Let me check. Yeah, it's a little difficult to detach. Let me move back. Sport. I can remove here a little bit. To simulate the lips here too. L et me see. Here the same thing. Here have the donuts. Check here more or less. To strong, but that's okay. Yeah. That's okay. This first overall shape. Let me see here. Use the hypols here again. I'm trying to fix it. And here, let me remove a little bit of this landmarks too strong. So yeah, it's better, a little bit better. Let me try to move up a little bit this part here too. The Zigomt region, more or less here. The here, Let me see here this part they're going to bring out, move out a little bit. Joe line two too much. Let me see yeah. F control. This way can be. From this angle, it's going well. Of course, we need fix the nose and all the stuffs, for example. Let me just try to organize the nose a little bit, these landmarks. So let me make a mask and try to organize that let me see here. Yeah, it's a little better. Then we're going to refine it so don't. And here I need make this whole too. I am trying to fix that to normal. But here it's doing things. But, well, that's okay. Let me try to fix that. Let me flate this part a little bit. Let me remove this part a little bit here too. A better. Let me fl again, how I say you to organize then. So let me see, work with reference, so this adaptation on fast. In this situation, here we have this protuberance. It's different, for example, the nodes. We have something like that. This way. This structure, something like that. But I'm going to make different. I'm going to make something more more like that. Check from this angle. It's going wow. Let me see. Here it's kro sphere. And then we need to work better on the nose. But it's going well. We need to fix this part yet. Always work with reference, this structure here. Lips on this way. This direction. The jaw line, you have this structure here. Se as that on this way. Let me check here, something like that. Let me check. Yeah. And here we need to try to fit this transction. It's a little better. Let me see the jaw line here. I can use the high polish to Here the same thing. Here to. The, it's going out, this part two. But maybe the I'm a little confused here with the part. This part, maybe we need more volume proportion, but I need to take care about the front angle. We need to take care about that. It's not so good, or maybe it's more on this angle here. Maybe let me check. Yeah, something like that. It's better. Let me try to find this structure here. Here we have the sternocleidomastoid. This direction. I'm just marking to to have my own g line. That's cool. Here we have sigomatic more or less on this region too, and here ends this part of the the io region. I'm trying to put more inner this region. So let me see, It's good. It's better. Let me use the hypolsy here too. Check here. So let me see. Yeah, I have all this structure here. Let me see here, all this structure. That's okay. Of course, we need to fix some parts yet. I'm trying to fix it and organize it a little bit. Let me see here. That's good. Maybe this This region here too more in front. Let me keep on this way and the IO information, it's trembling parts, so we need to fix that. Let me see here. More diagonal. Then when we fix this part of the O will be more easy to identify the other parts. For now, it's a complicated, that it's normal. Let me try to bring volume here a bit. So, that's okay. Let me date the mesh, and same thing with this part here. But maybe here. Let me move a little bit, and I need make the fiens different. For example, I need may make the fins here, for example. The fi the region. The landmark here. So here more or less. Let me remove this part here. That's okay. So how you can see this initial process, its verb seems a little complicated, but it's normal. So let me remove here too a little bit. And let me fix the parts. Let me see from the side, that's okay, p mesh. And that's better. So let me see here. That's k and here we need t to bring the volume to. For example here. Yeah. Can try to create a little more. The better thickness to this part here too. It's a little better. For example, let me bring the aisle here in this part needs to be in of this one, so I need invert it. Let me use the control. And let me hold control here, the mask lasso here and I can make this mask here and try to bring this part more move this part or move this this region here in front. Yeah, that's okay. Let me update, not necessary to update for now. It's going well. Let me see this part here, have all this The nos here that we can start playing with this region here. Let me update here a little bit. But they not smooth a little bit. I can use the hypolgy, also. And start creating this nos. Here it's too strong. Let me mark a little bit more. Let me see here, creating this variation. And that's for now. Yeah, it's not perfectly, but it's on initial point. Let me use the inflate here, this part to mark a little better, and mark the nos here too, this part and that's cool. Let me use the hypolosy here too to mark this region, region here too. It's better Let me see here. Yes, it's better decomposition. My opinion, of course. So let me check. So how you can still have this new expression, new feeling, it's better. So it's externally important. We always work with these shapes. Let me just bring here the same thing and use the policy to mark the elements. So let me see here. That's okay. Then we need to fix better this part. So that's okay. Yeah, it's going well. Let me use the hypols here to tomorrow tops the year here too. So this part here, this transition to, let me pols. Try to move back. And this part will be better. On this way. Yeah. Just changing the shape. So like that, can be. Let me check. Yeah, can be on this way. Yeah. That's cool. So let me save that. Of course, and the next video, we're going to continue with guys. 6. Finding The Shapes: And while guys continuing here, we need to remember why I'm not adding more resolution Because we need to remind that we're going to have the complete body. And here, for example, the complete body. Me, Daniel, I don't like to work with a lot of resolution in the first moment for the full body. For example, I like to work more with low resolution and going to blocking part by part. But well, I'm going to try to improve the head, basically try to finish the head, the overall blocking and have a good sideway correctly shapes. Then I'm going to start blocking the body. And here, how you can see, we have this different face, for example, here it's more like I don't know, it's different and here we have more like African or more like black. And here it's more like an Indian Indian knot. It's more like, yeah, Indian. Something like that. Nobles, it's different. The positions, for example, have more this way here, something like that. This protuberance here, it's different. It's very easy to change these things, but I'm going to keep something like that. I like it. Well, I'm going to try to solve the io region. In my opinion, if we solve this region, all this region here, basically the other part to make the other parts of the model, it's very very easy. So how you can see this type destin. For this IO zero, have a fin. This part is more finen together here. So I'm going to try to bring this idea. Of course, we could make work of zero measure, but for this moment, I don't want to make it. I want to work different for now. It's not work different. Basically what I going to do it's block first out the structure, and then I going to use this z mask to refine and finish the over idea. But it's not time to do that now. So let me move the mask. Let me see here. Let me reset the pivot and to move. Something like that. But let me check this sport. Let me see here. I don't know. Something like let me move this part a little bit and now try to now try to move this region. And to this way here. Of course, we can, for example, add the other way to work on that. But let me test. I think the aisles are a little too big too. Let me try to fix it. It's just a test. Let me see here this part. Basically, It's something like that. Let me try to reduce this part and here we have this gap. The end of the eye it's more or less here. Let me try to fix that. This part here too, add the volume here and I need to fix that. So it's normal. So now it's a destructor. It's a little better. Of course, we need to rework on that. We could work different, may make these parts separated. I don't know, it's an option. And let me see here. Because I have a low information yet, low resolution, so it's a little more difficult to add things, but well, let me move this guy. Let me rotate that nine degree. Try to set it or less. Let me move from this way. So this process, how I say you I spend more time in this region because it's necessary. In my opinion, of course. Let me see. Let me try to work of the mask so and work on the eyelashes here. Move back. So I'll this part spend more time. L et me check here mark on this way. Let me vert here and make the same thing. Let me check, try to create this this landmark here. L et me see. I can be have created poly group. This part here now make two sense, let me remove to have this gap here. Let me check the formation. We have this landmark here. Basically here we have a volume two. Et me see. Yeah. Let me try to fix this part here, the side of the aisle. Something like that, maybe and here the thing. Organize L et me check low resolution yet, so don't worry about that. Let me use the hy policy here. Probably I want to add more resolution to make this structure. Let me see here. Here I have it's this volume together here. Let me create that. Have this structure a little more interesting. So let me check, create this part here. And the landmark the same thing here. The structure, but take care about that, not too strong. Just to mark the things. L et me check very calmly, Let me organize the the month here too. This way. Let me use the hypols again and again and again. Let me check here. E the hypolsh. I want to this part very clean. For example, on this way. Same thing on this part very clean. So let him put I I will add is Mile, but I will not to do that. I'm going to make something more more Angry. The lips here and here. Let me check this part. Let me use them standard, hold out and create this structure here. Let me check. Yeah, I can be Let me separate a little bit this part here. It's a little more difficult, but that's okay. Let me try to organize on this way. Yeah, Let me invert this port. I'm just organizing this way because then to make the repology will be better. That's okay. These eyes here in my opinion, is not so good. Let me break a bit, maybe something like that, but I can divide it then. The nose here landmark at bit on this way here. It's a allow information to make the strong landmarks, but that's okay. Let me bring this volume here. Let me test. Let me try to bring this landmark more strong here to create this variation. Let me see the nose it too large. Let me change a little bit this part. Better. It's okay. Let me see the protuberance. Yeah, can be on this way. Zygomatic and this part more in front. We basically have all this part more in front. Et me see this part here. Yeah. Let me make different make the month to create a specific character here. I can bring this part of the month back and keep this leap in front, for example. Have different aspect. So let me see here. Let me cut here this igomatic idea to mark more strong, to have this strong landmark, Let me maketh here, this part. Create this aspect here too. Let me see. Mark these elements to create this aspect. Maybe if I want to make something angry, I can cut here this part, but I going to make different. Let me see. Let me see this guy. I think we could make this division here. Maybe we'll be better. Let me see. Yes, and let me try to organize the line. It's not the line, but the information here of the nose. So let me see this part more in front of this part in front. Here maybe more volume to Let me check. So let me see, yes it's better. Let me set this region mark this way and here. So it's better. It's better. Part we need to fix yet. Let me create this landmark. Let me check this part here, this volume. Let me increase a little bit of the resolution. Too much. L et me set more or less on the here. Then we can reduce that. I think it's too strong now. Let me press con contro Z, and I think this is structure here it's okay. Just create these shapes here to check. Yeah. That's okay. Press control. Et mark it here, something like that. Let me see. This volume here, this structure here. It's a little better. And I am trying to create something that makes sense. Yes, a little better. Add to volumes here on this part of the head. This part it's more flat. So let me see something like that. It's better. Let me create a volume here to have this MDs curved, a little bit curved. Let me see here. Changing the aspect of the cranium. Be on this way. Then we're going to fix this part again to Let me see here. Need reference from back part, but that's okay for now. Let me move here and create this division of the neck. Here basically have the clavic then we're going to work on this part. Et me structure this region. It's going well. Let me mark a little bit D line. Yeah. Let me add this lio volume to organize better. This connection. I think we can create the year now. Let me organize this party here, fix this party here. Just to create the transition more interesting to the digital line. Let me see. Then we need to fix the neck. Let me see. He is a more strong guy. Maybe then I get it too. It's a little different. I don't know. Maybe this part. We need more volume, like that. Maybe this part here to fin. Yeah, I think something like that, it's better. Make more sense. This way here. And mark a little bit this part. Let's go. And we're going to continue refining this region. I think we need more information here on this part. And it's just it in my opinion. We need more resolution. But the overall structure, it's okay for me in my opinion. We just need to fix the other elements. Let me add more volume on this zero part here a little bit. The donut effect. Yeah, it's better, detail. How you can see have this expression, most. Let me add more volume here. This part and smooth again. Change the light direction. That's good, the overall structure. Let me use the dum standard just to mark the contrast. Let me check here. Yeah. So let me bring this way the mesh, de created this aspect of the skin. And here same thing. Let me remove volume here and add again. So let me check. Yes. And here, let me try to find something that makes sense. Let me use dumb standard again. To mark that. Let me see here. Let me. Yeah, something like that, it's okay for now. Here we have these little volumes. That's okay. I don't know yet. Struct I need to fix and think about that, but this part here I'm enjoying it. It's a mix about a lot of things. Let me create this landmark Mt here to the tan. L et me see, something like that. It's okay. The lip. I can mark here or here on this way, for example, Ma more on this part here. Yeah, maybe it's better. Let me check. Leap information. It's a little out. So let me see. This part. This way here this landmark. Let me check. Yeah, something like that. Can be more strong lips like a black guy. And these volumes here now make two s. Let me organize ale bit. Let me move to see on this way. And let the mark again a little bit. This part and something like that. It's coming from this part here, and we can break it So that's okay for now, we can then organize it. Calls now have aww information, Law resolution, so now it's not the idea. And the lips too strong to to big. Let me re here. But I confess to you that I have enjoyed it. So let me see here. How I can do that, maybe on this way and here and reduce this volume, but I going to break the main idea that I want L et me see here. Yeah, I think I'm going to work with something like that. Let me check here. Something like that. Then I'm going to organize it again. Let me fill this part here. Yeah. And here. Let me use the dumb standard to break this part a little bit. And this part a bit too That's okay. It's a mix. This first part, it's going well. I bring this landmark here of the lip a little bit. This landmarks, the nose here. This part, it's very strong, going well. The nose here maybe more volumes. More strong here. That's good. We need to fix this part of the year basically to get the final version of the destructure of the character, so we're going to make it in the next video. Let me select. So how you can see have this aspect. It's going well. L et me set white color. Is going well, the O M scheme six, good to five. When we use this sad miss a lot of cavity, but no problem. Let me change the light again here. L et me add the Wax review. I like to work with Wax preview. Render properties, and active Dax preview and use more or less 15. Yeah, I can be. I can choice a color more or less this way. So, let me check the sche again. And it's going well. The simple structure yet. Remember, it's just simple structure. Very cool. We need to organize the ear to have the correct blockage. Just let me organize this part here of the nose. Maybe remove this region here. Yeah. Maybe we'll be better for me, read the model here. Yeah, it's not good yet. Yes. Now it's more clean. It's a simple thing, but I can read better the model here. Yes. The overall structure, how you can see. From this point, we're going to continue organizing the elements. So this part here, it's a little retrange yet. This part seems that it's a little retran I don't know about this transition. It's better. Yeah, I think something like that. I don't know the know it's It's too strange yet, but well, then we're going to fix that. Let me check from this angle. We can move back a little bit. Yeah, this part, it's very intense, but that's okay for now. This structure. L et me check here. Yeah, for now, it's going well. And the next video, we're going to continue. 7. Adding Accessories: Well, guys, basically, here we're going to continue the character. What are going to do now, let me use here it's solo. Let me apply a new hoy git. Let's go. What I'm going to do work on the on the ears. Let's do that. What are going to try to do here. It select the region. This region here maybe or something like that. Yeah. In front. Let me remove this part here and here too. Let me see here. Yeah. Let me da increase a little bit the mask, create a poly group, that's cop. What are I'm going to do now, it's duplicate the head and create a copy, so now I can isolate the years and hidden close holes. I have this base mash to store and here I can make the same thing, but inverse it and delete Did close holes. Now I can move a bit the port. And fix this region here, for example. Let me see on this part here too, this side without the ear. Let me check here. Let me try to find a better fit here to fit better with the other That's okay. I think that this part here I need to remove a little bit too or just use the move move brush. Here I have more curve because the Zygo mat and he inner. Yeah. T we'll be better. Let me organize this part. D match to. And for this, this character, are going to make the More smell. Let me see. Something like that can be this way. Let me find the shape here. Let me check this part here. Something like that can be I prefer work on this way because it's more clean and fast. My opinion, of course, so it's better. Let me move a little bit to the sport or move this guy to this way. Yeah, I can be. Let me update the mesh. Other thing that I was looking to reference and I have this guy here. This part, I like it. I'm going to try to reproduce maybe here. I'm going to try to remove a little bit this part, bring volume here. And here I'm going to remove a little bit this part here and here, I'm going to bring volume. To create the noise and this variation. That's very cool. I can reduce a little bit more this part, but this transition need to be very very clean. So let me try to check that I can use the high polish for the first moment, then I can increase this transition. Let me just check that we can so. C so, I can use the hypolsy here too. Let me create this variation. Let me see here. M to this way here. Let me check. Yeah, something like that. I can so a little bit more and here bring more volume too. L et me and create this variation here. So let me check this part. Maybe here. Let me check to break this this flat part. But of course, need to make ss. I don't know about that. Let me bring more here maybe. And try to remove a little bit of this part. This part, come here to create this different nos here. Let me see more here. And so I'm playing with the shapes now. Let me check here. Yeah, it's better. I have more Seems that I have this more nat and this nos here is very good for me. This protuberance. This little bamp here. I can make the same thing here. I think I can reduce a little bit the sigomt to this part here and I can smooth a little bit of sport to. Same thing here, I can smooth a little bit, and create this variation here. Let me check. Let me see here too. H Let me see, this little. It's clean up. Let me bring a little of the Zigo matic here. Landmark. Can you use the hypolsy here. I create this aspect. Clean. Yeah, I think it's better. Of, I need to destruct it a bit. Let me see here. Same thing here. Add the more volume. Et see the frontal. It's going well. We have this little variation here and we can play a little bit with that. Let me use the standard to create these landmarks here. I can create the wrinkles ale bit of wrinkles here. Going here more or less. Let me see. And move a little bit. Same thing on this region here. I can mark a bit more strong, but then I can smooth that. Move a b and try to define a bit better this part. This transition here. Yeah, it's better. I think for now is it for the heat. It's not easy. It's kind of it's done, but it's more like we have a good good nos here. Let me bring this volume here. Yeah. So let me create this variation here. So let me see here. And we can play a little bit of that, just playing, enjoying the process, to create some variations here. It's it to understand that. Let me move a little bit more and more no ends Dam standard to mark here a little better. This part of the sternocledomsoid Musco. Here this landmark to Let's see. Of course, take care to not make a lot of nos and bring a strange shape. We need to take care about that, too. So here we're going to return. Yeah. That's okay. That's cool. For the face, I need more resolution to finish the scuptor. Let me see about the eyebrows. I don't know. Maybe I'm going to make it only on the process may or without eyebrows, pint that. I don't know yet. So t extract that Sept. When I have this part of the socket here, very large. I like to make small io brows because in my opinion, this fit better make more sense to the model. Oops. Let me return here. Use the X symmetry. And let me move it or less this way. U, and try to create this this noise effect. My lit the side. The hidden Mr out. That's okay. I think that's okay. I move up a little bit. No can be on this way. Dyna maybe. Let me check here dam standard. Let me see here. Oops. Just to represent that it's not correct I wrote here. It's just to represent that. Let me add black color. Ob, RGB, Let me see here, the standard without RGB, Standard brush, RGB, object. Yeah. Maybe to black, let me set more or less on this way, maybe colorful object. Yeah. To block hot. Something like that. Maybe it's better. Yes, it's a little better. I have this different aspect and remember, it's not a likeness. We have this one here. It's so cool too. I think I can add this element here, maybe. I don't know. Let me depend on rink. And try to bring to the nose or to the lips. Let me scale that. Let me see here, something like that, or not, it's different we have this this way. Let me check here. I think that I'm going to make some Let me use the in deformation inflate, something like that. Here, for example, I co remove this this part. And it seems that we have this other part here. It's very very crazy. Let me check that No, I don't know yet the best way. I'm just testing. I have something like that here too and let me scale different scale different not. Let make different scales, something like that. Maybe we'll be better or just to decide. Let me test or the lip. Let me check that. Now it's time to play a little bit of the things. We can test. No. I think that I going to keep to the nose, but I going to make morphine. This process here. Something like that. I don't know yet. No a hap of this this vise, maybe Let me test. Maybe I'm going to make different. Let me append something different. I don't know. I'm not a hap of this this vis, but let me think about it. Let me append this fear. And I going to create this shape here. Can be Let me remove that and make this way. That's okay. Let me go to adaptive skin, DCD one, o to dna pew, DCD two, maybe L et me check or D one. One, it's enough, make polymaD. I can turn off this guy. Return here symmetry and it's not necessarily symmetry. It's just I can just remove the lips. Using the modular. And I can make something like that. If the previews move, that's okay. Bring this deep here. Yeah. Let me increase this dynamic division 23. Yes, can be. What I'm going to do now, it's append that to the CN. That's okay and now I'm going to move here. Let me scale that and tried to fit it here. Let me see the lip here. Something like that. M R, press. Yes, maybe it will works. I'm going to add more or less on this part of the lip because if you put your finger into your mouth, you can see that it's possible to make these things. So It's very scared and in my opinion, y Bad. Well, I don't know why they do that, but that's okay. Let me make something like that. More or less here. I don't know if we'll be good or not, but for now it's okay. Let him select this part. This part, let him move up a little bit. Yeah. We just set it here. No, I prefer on center. Let me scale to test. Maybe it's better or not. Yeah, I think it's better. Make mores. Something like that. Not on this way here. Let me change the thickness yet, inflating negative. This way, I can be here. Yeah, that's okay for now. Then we can change it, so this is the cop. Let me a pend other thing here that it's cylinder to simulate the teeth is with the mouth a little bit up. Let me just try to set it more or less here. And here. Let me check transparence. Rotate here. Let me duplicate that. This will be the inferior teeth. This will be superior teeth. Something like that. Just to represent something. Let me check if it works or not. That's okay. So let me move more or less here. Or just this on here. No. Yeah, I can be on this way. Let me select a different, maybe a different scans to it. Yeah, I can use the RGB M RGB object to dip object. This guys here the same thing object and few object. So let me see. I'm return to this MCA six. Better. Let me check here and try to figure out this part and select to hear this part here. Let me see. No. I got to keep on this way. L et me fix this region here. Yeah. So that's cool, how you can still have this visual. Well, I think is it, try to mar a bit this part here of the neck. I think that we need more contrast on these parts, but don't really going to get it then. So let me just move a little bit this part here. Thing, just creating some or not, Let me check, but I have this this contrast here, so for me, it's good. Let me see. That's okay. So is it? And I confess you that I don't know if I wanted the black color, Let me set the white color. Let me set black color. Object. Few object. I don't know sees that make more sense with this contrast. I don't know, then we can play a little bit with that. Let me reduce the fickness of the ring. Set disposition. Not test. Yeah. Then we can remove it. It's just test. Same thing with these guys. D used the inflate. Let me select these parts and apply the inflate. W. I think it's better. So let me move this region. Or just make a mask and flat it too. Think now it's better. And, is it? 8. Sculpting The Ear: Let's start doing the year. That's good. Let me create this volume here to the year. The first part it make the whole here. Yeah, we need to fix that. Well, we're going to start with that. Let mark the hook fish shape that it's this one. Here. This is the hook fish. Here we have more volume usually. Let me see. Then we can fit this part here. And here I need reduce this part, here we have the y letter, and this part here is we have more volume, this part here. Here I need to remove a little of volume to the mash, et mark that this part part here to and here, let me try to bring this shape and then I'm going to try to fix it. Usually we have this this shape here. This part it's not inflated, but it's more large and ally we have this connection here. Something like that. Fast, bring out this region, this region here too, this this shape. Let me see here. Can use the hypos here. More or less, it's not a rule. Here I can mark this letter. It's, something like that. Let me mark here yes. Now we need to start organizing this this part. It's very early process. We need to organize a lot of the part. Let me date the mesh. I'm not happy with this shape, so I can try to change it. Yes, I think it's better now. Let me see the reference always. He will have a peak here. Let me make it. Of course, here's more stylize it, so we need to take care about that. And this port, it's different to Oh. Let me mark this region here. Seems good. I like this shape. It's not this shape, but it does affect wrinkle seems a little wrinkle. Here we have this this part. Try to fit that. Put the dimension. I can try to fit it. Yeah, mark it here and creating these landmarks. Yeah, it's very cool. I don't know if we could make something like that, but no. Let this part here, and here we're going to create the y letter. That's cool. Let mark this p and bring out And I'm not happy with this this part of the year, so let me make different. I want to something more like that. Yes. But here also seems that it's too inflated, and I don't like that too. Let me cut this part, maybe. And here create this effect. Yes, maybe co scale a little bit this way. Seems that it's a little better, more on this way here. Let me check that going to rotate it a little bit the pivot and try to Let me see here, something like that. I can activate this local sm and try to esce on this way a bit. So it's better. Yeah. I'm not happy with the year yet. Maybe the overall shape. I'm not happy with that. P de mash. I need to inflate this parted and cut here probably. Yes, a better. This part, I need more volume. Let me move something like that. From this angle, it's okay. Yeah, now it's better. Let me select the composition to check the composition. It's good. Let me check here. Yes. Now that's okay. That's cool. Let me see the reference a little bit more. Yes, that's cool. Of course, it's just the blockage in show. So we need fix some things. Let me see this part here, for example, this region here, I need this feeling. I can also add more resolution. This part here, I can bring more volume and remove a lia volume from this part. Here. I do not add a lot of things because remember we need to make the topology. So try to make more clean shapes, always. Let me see this port. Here, I have more volume two, but I can reduce it make different this part then. Let me bring here this little volumes Let me make more clean this part here. Morphine. Let same thing with this part here. Let me check. Yeah, we need to fix this part here yet to divide the bad this part and move this region, something like that to create this better feeling. Until here more or less. That's okay. So we have this better interpretation. Let me use the inflate here too. Of course, Dam standard to make more clean the sports. And he ends here more or less. So we can smooth that. Yum. Now we need of this part together with the at the same with this one here. Something like that. M diagonal. Yeah. Maybe I can move down a little bit the year. More back. Yeah. Let me see. No, I think I can move up or just increase change the size. Yes, I think that it's enough here. Then I can change it if I want, make a strong year different. Merge all the sports, but for now, that's okay. Let me see here. We have more mark this sport. Well, that's okay. I think that's okay for now, et use the inflate here. Create this here. Then I need to mark it again and use the inflate here too. Yes, this part here need to be very marked. Now it's better. The overall structure. Here we could play a lot with that, create elements. Things here and here and here, but that's okay. I think this is enough. And we're going to continue in the next video, but how you can see have this overall shape and part by part are going to increase in it. See you guys in the next video. 9. Starting Guideline: And while guys continuing here. I have done some changes. I have moved out spart a little bit. Move it back. Let me just show you. So basically, I had this protuberance here and I was not liking it. I decided to just use the move a brush. Move a little bit of the nose here, for example, this one and move a wit and repulse the things. So Idcide to make that. Now, what I going to try to do it block It's not block. It's just at the rest of the body. Because I don't know I'm not a heap just with the head here. So for me, the structure it's done. Basically, what we need to do is refine, for example, the ear and all the stuffs. But before I do that, I'm going to try to add the body. And let me select the e brow here, and maybe I'm going to try to find a different shape. I don't know. I am trying to keep the Mo visual because how I make a lot of female characters, usually, I try to reproduce that, so I'm going to try to make different here. L et me see here and something more aggressive. Maybe we'll be better. So let me check here. Yeah, I can be something like that. Not too much. I think I going to work. Something like that. It's good. And let me try. Let me load here and dt. Let me import. I'm going to import the image reference. Concept. No, it's here. I move this guys to concept. And I'm going to bring this one. And I'm going to add to spot light. That's okay. L et C props again and reduce the opacity. Let me check more or less the size. Im going to try to bring the size proportion. It's more or less, so let's do that. I can pound the icphee. Let me bring here. And what I'm going to do is try to I have apply a dynamic and I'm going to try to create the rib shape. So let me turn off the spottyd and turn off the dynamic brush. Basically, we have this shape of the rib. Let me remember that use the hy polish here, so basically have this shape. Yeah. And here basically, it is the neck. We are we going to place the neck? It's something like that. And here same thing. I can use the hypolsh. Let me check here. Yeah, it's not necessary to be perfectly. It's more to represent. Let me try to use this position more or less. Let me use other madcap just to check and see the elements. Yeah, I think can be something like this pose. More or less. And let me go to document and set Qt camera. So now if I miss the position, I can just click on Kuston again. And let me try to organize that. This is true more or less on this way. Yeah. Let me duplicate that, and here we're going to have the, the pelvic region. It's something like that. Let me return to the skin shape or these other madcap skin can be. So here it's a posit, basically have this shape. Let me make a different, something like that. Let me see here. I can be something like that. It's just to mark it, so don't worry. And here I can bring information. Yeah. Let me use the hy polish. So, yeah, I can be on this way this shape here more or less. Yeah. It's more to represent the thing, so don't worry. Let me invert and try to bring more the sport. The rib cage. Yeah. It's just analogy now, but that's okay. Let me move back a little bit more or less here. More or less on this way. Somehow I can try to bring the structure. The structure to fit that and break some parts, of course. Let me see here. Yeah. I can be on this way. Here I have the ribs part and here the abdomen. Let me try to pose this port here. It's all together sport. So basically, here we have the abdomen, it's kind of the abdomin region. Something like that. It's just a landmark. Let me check that. Yeah. It's something like that. L et me try to fit it. Then, of course, we need to organize it. So let me try to keep more diagonal of this part, and I am using I'm working with without the perspective, so I need to fix it too. But don't worry. Let me see the struct. Yeah, it's going well. Remember, he's a guy. So let me see about this part here where we have the external oblique and the other part of the let Sims Dorsey and the Pelvic. Let me see an anatomical reference. So usually you have this part together. So let me try to block that, something like that, just to represent better. This part, something like that. Yeah. I Just to try to find the elements. I'm trying to mark that. Let me make it more like shorts. Something like that. Let me see the side reference. I have Mr dion. Then I need to fix these regions. Whether that's okay for now. Let me check here. Let me see how this structure probably here it together. For example, this way. I just mark to got the shapes, but I'm going to press contro and keep this this idea. Same thing here. Let me bring more volume to create the gluts shape. Let me check here. Create the spine region. L et me use the shift. I'm going to hold shift. Yeah. That's okay. It's not perfectly yet. Of course, this part is more on the way here. Yeah. The parts large. L et me see it. Or something like that. Yeah, maybe we'll be better because then we're going to look to have the lat simus doors for comes here. I going to keep this shape. No problem. Let me try to this region here maybe. Yeah, maybe this structure and then we're going to need to organize it. But for now, we're going to keep on this way. For example. Let me see here. This structure. Nitch point. Remember that. Niche point. That's okay. L et me see this element. Yeah. Well. That's okay. Let me see about the other parts. Let me go to press Z document, Qt. Yes, it's more or less going well. For example, have the destructor. Now I need to add the legs. Leg try to add other sphere. Can duplicate this one, for example, and move up and select this guy and use the history. For example here, and press controls it turn off the symmetry and bring this part, se dynamish. And here I can try to bring the legs. Let me see about that. Can scale document Custom Yeah. Let me use the mirror. Let me see about that t symmetry can hold control. Let me rotate a little bit and scale this part. I'm marking it. Let me invert this guy and try to repose it too because I want a better structure to work. Let me organize this part here. It's not time yet to work on the side, so don't worry about that. So let me try to fix this little part here. Gastrocnemius, the knee tibia. So Let me see. Same thing here. Basically have more volume here and here's more out. Of course, then we need to ganize all it. That's okay. Let me in and make on this shap. It's very ugly, so don't worry. Remember, it's just the inch concept. Let me try to bring this part maybe more on this way. We will be better. Let me remove this part and hear the same thing. So let me try to bring more this way. Yeah. We need to fix out part yet, just the blockage. Don't forget that. Let me see here more or less on this position. Okay. Add the volume here a little bit, Gastros. Yeah. I go to duplicate that again like this guy to his fear shape. And I going to try to simulate the fit. Let me sit to the center of the object. Let me see perspective, scale this part. Let me try to simulate the feet. This is workflow that usually I use. This is my workflow and I'm creating something from sphere. Of, it's di, but it's the life. Here I have this shape here. So let me move more or less this way. Let me check. Let me remove this part here. This part here too, this part here. Let me check. Day the mash. Let me see. Make more fin. Then we can use D the fit, we can use a base mash. No make sense. We we make the fit from zero because we're going to spend a long time just to get a normal fit, so no make sense in my opinion, of course. So let me see here. Cut the part a little bit. Here you have the finger. So let me mark this part, and here we can create the ankles. Let me just make a little better. Yeah. Let me use the mir, give symmetry. It's very ugly in this first moment because remember, we are from sphere all the things. So that's okay. And now we need to make the arms too. But it's going well, the first blockage, maybe then we're going to change out this structure, so don't worry about that. I think this part, maybe I called merge it. No. I'm going to keep this landmark here. Let me see here more or less on this way. Yeah.'s better. So let me remove the quick save. Of course, delete Quick save, save the project. T in the next video, we're going to continue. Let me go first, P Z document, just to check the turn off the perspective. Check the reference. Seems that this part is stro this part of the leg. And more or less this instructure. It's something similar, and M cure too. But of course, we are doing Let me see here. Yeah. We are doing likeness Cara perfectly, but that's okay for now. Let me see this part here maybe. Yeah, maybe it's better on this way. This way here. Let me see here, that's okay here. That's good. First blockage. Remember that. That's okay. Here we have the serratus and all these things that we need to organize. Let me use the hypolicy here and here to to create flat region. Yeah, it's a better. Here we have the clavico. So let me mark. It's not the final version. I am just marking to get an overall idea about these things. Here we're going to have the let Sims door sim or less. Y. That's okay. Let me ti perspective, save again. And in the next video, we're going to continue blocking how you can see when we need to construct let me remove a little bit this part. Maybe will be helpful for us. When we need to construct from spirits different. Let me select the te Yeah. That's okay. That's going well. Let me say again. In the next vid we're going to continue, we're doing all the parts from I here. And it's not easy, but it's possible. So see you guys in next Vero. Remember here is just the gear line, and we're going to change it, we're going to fix the ports, we're going to find the silt. But on the first in the first part, when we are starting from from zero, without base mesh, I like just to block the things without without spend time with the correct shapes and proportions because I prefer to have the full full elements of the body, and then I going to work on it. So see you guys in the next video. 10. Continuing Guideline: And continuing here, guys, we're going to add the arms, but let me just try to fix this part. I don't know, maybe something like that. Just to organize this region here, or maybe I can make different, I can reduce this part. Can be just to align better than when we going to when we going to for example, reduce that. For example, here we have the pectoralis disposition. Yeah, something like that. But well, we're going to organize it then, maybe. Let me say something like that. Let me check here. Let me see the sport. Organize more like short here. So let me cut the sport to try to place it correctly here. Now I can organize that. Let me see here. So let me check. Yeah. It's better. Let me use the yolsh here too. Here we can bring volume and use the yolsh. I'm not updating the dynam because I want to keep the poly. But I can dynam make a difference. So try to align these parts And let me see here. Well, let me check this part. Here, we usually have more volume here not to a lot of volume. Of course, let me try to connect this part. Let me see. Create an overall idea. So this part here can update the mesh, too. Let me use the auto gropes first and update the mesh. I think it's too much let me use maybe ATA. Let me see here. D D mesh. Yeah, I think it's okay for this first moment. Yeah, it's better to work in this first moment. Well, I think that's okay. Then we're going to fix the parts. So for now, that's okay here. So let me use the hy polish here. Probably we have this little volume here. I don't know. I think I can merge the spars, but I'm going to add the Im going to add the here we have the ribs. But first, I'm going to add the arms, for example. We cod cut here, for example, this structure, but well, it's not time now. And let me make different maybe this way. Let me see here. Yeah. So let me check here. Demo mark strong landmark here, it's better. For us, that's okay. I think that's okay here we have the same thing, for example, this landmark here of the gastrocnemius. Let me check the reference. I think it's on this angle. Has on this angle. Here basically have the gastrocnemius here we have this landmark, the sus. Basical on here. The part. How you can say we are not studying anatomy. I'm just copying the things because it's not time to study anatomy. Let me see here, the part e check here more or less to just a landmark. Let me see here. Let me remove a little bit. That's okay. Then we're going to fix it. Here we usually have more volume this way. Just to mark it. Now I'm going to add it's not time to make the element yet. It's not time to make the details yet. So don't worry about that. Just trying to fit the things. Yeah. Well, I think we can merge this part of the legs. Let merge thou. I can update the mesh and smooth this part here. So let me this transition. For example, here we have this volume. This volume, and the cavity. So basically, what I'm going to do is just to remove this a little bit d sparge, and here I'm going to bring more volume. Pate mash and smove. Just to create this transition. And here usually you have volume about the sims. Musco. Here. A I'm just marking the things. Here seems that we have this shape. Let me see. And here seems that we have this landmark. Let me check here. Yeah, something like that, not perfectly, but it will work. Let me remove on this region here. Usually, it's Ma, this part. A L et me update the mesh, move this region. I'm just marking it. It's about the final information. I'm going to add the knee here. I will make the arms, but I decide to make this part here because I have enjoyed it. I decide to make it first. And here this part. Of course, it is not the correct way, but I'm just marking it yet. Yeah. To the structure. Yeah, I have all these other parts. It's just a simple landmark. And how I say you have strong polygon, so it's very bad to work on the symmetry. Then we need to fix that. This part usually we have volume, but sometimes it's just remove the volume here. So let me see. For just this landmark, we need to fix these other parts yet. Let me see more or less here, maybe I don't know yet. Here we have the TB Musco too. I just mark it and remove a little bit of this part to be more harmonic, and here same thing, and here we can remove a little bit to bring the bone region. It's very ugly yet, but it's just the landmark and more strong part. Here same thing. More circular, and here we can make the same thing to this part here to. Then we're going to fix that. Let me remove here and here this part. I'm just adding these little volumes, then we're going to fix that. All this structure the solos, That's okay. This part Let me try to reproduce a little bit more, this structure. L et me check and here we have this. It's this landmark of the Muscles too. So how you can say I'm just marking it. Let me see here. Yeah. Something like that. Let me bring marked this way. Yeah, too big yet, too strong, too big. Maybe we need to fix these things, but that's okay for now. Yeah, very ugly. But that's okay for now. Then we're going to organize the element. Let me just now add the Let me see this part to. Let me see here. Yeah, maybe more on this here we'll be better. D side we need to test it. And the legs, it's a little strange. This part here. So well, we're going to fix it then. So let me see this part. Well, then we're going to work on the legs. It's not time to work on it now. For example, It's not time now. We are just blocking it very simple way. Let me just move the sport. For example here, we're going to have the Musco, the hemi, for example here. Here. I'm just marking, but then we need to organize it. For now, it's just this landmark. What are going to do apend other sphere. And comes here and try to create the deltoid muscle mirror. Basically deltoid muscle will have this shape. This shape here. Press control Z, T symmetry, of, we have this shape on this angle here, it's something more like that. It's about that. So Let me use the hypolsy here. So I have this connection. But maybe it's something more on this way. Yeah. Let me check. We can look for the reference. Oh, let me get plan reference. For example, here, we have this structure. More on this way. Seems that this part comes here. Yeah. And we can get this part more or less here too. Something like that. Let me check this other part here. Same thing. I don't know. Let me inflate that, move out a little bit. Maybe I want more strong eye. Let me check this part, for example, more or less here. Yeah, I think that's okay. Let me use the zero dumb standard to create this landmark here. It's play off the Dotid. Let me see here. Let me check this part. Basically here we have it's the pectoralis that we're going to bring, for example to this way here. This region more or less. For example, we need to fix that. But first, I'm going to try to add the other parts of the to check the destruct. Basically, this something like that. So let me see. Yeah. I think that's okay for now. Let me duplicate that. Well, we'll select this other two sphere shape and try to find the arm idea here. It's more or less on here. Yeah. Something like that. Let me check. L et me see this reference here. Yes. Let me see here. And let me duplicate that. Try to set something like that. I don't know yet Let me see. I think this guy here we can we try to bring more this way. But of course, here we have the de pectoralis. So on this part more or less, we need to organize that yet. Let me see the structor. No, yeah. I'm going to keep something like something like that. Let me see here. Maybe. Let me check here and I'm going to try to organize different this guy. Try to make on this way. Yeah. And this way here and this way here. Yes, it's a little strange, yet. Let me check this part. Try to bring volume here. Maybe. And we need to try to find side with it. Usually have this way and this way, try to make something like that. Yeah, it's better. So let me see here. So let me check this part. Yeah, maybe it will work. We need to organize better, of course, but it will works. Let me see here. Yeah, the hands now. Let me duplicate that like this one. And return here to sphere shape. Remember, the feet and hence we're going to use base math because no makes sense we spend time doing hands in my opinion. Let me see something like that. Yeah. I can be let me check here. Just break the structure here. Wow, wow, wow. This guy here. Yeah, can be. Something like that. Press Control W, and now I going to just move to sit, something like, can be. I used inflate here and here too. Let me see here. It's better. That's okay. This part more on this way. That's good. And let me check here and now this part here that usually it's until here more or less. Of course, this part here, we need move to this way here. Yeah. So let me fix this part here. Yeah. So all the structure need to understand that. So that's okay here. That's good. Of course, It's a little. T close that it's kind of a crap and I don't want that. So let me rotate it a little bit. Yes. This part can rotate to this w here. And side to this port. I don't know. I'm not happy yet with the structure, maybe on this way more up. I don't know, something like that, maybe. Well, let me see here. We try to find the better sideway here. I know yet structure maybe set the hands in here and on this w. Yeah. Better. This shoulder region, I'm not happy. I don't know if it's too small or I need more inflated region. Let me check here. Yeah, maybe on these structures going better. Let me see here. That's okay. Of co, we need volumes and all these things now, but that's okay. And this part, we need connect here more or less. Let him select the tie. Yeah. F now, that's okay. F this god line, we need to try to organize and fix the things because of course, we need to work on the structure and all these elements. Let me see here, create this part only. This region here. This part here too. This guy, let me move up a little bit. Same thing here. This structure. This part here just a little bit. It's better. This part here too. Let me use the clay built up and create this region here. And then I'm going to fix out sport. I call close the month if I want to, but I will not do that. I'm going to close the month in the under part. For example, I can create poly group here because then we'll be better to work. And now I can use select smooth a bit invert, and I for example, close the month. And move a little bit. Look at the difference. That's cool. But it's not time to do it now because we're going to use the set, so we're going to make this process in the end of the project. We need to fix the ear yet, but that's okay. This is the first structure. Of course, we have a lot of things to do yet. Maybe the shoulders. We need to move more or less until here, this part, usually connect here. So let me select this part, and we can change the poles here if you want. But it's going well. Let me see this guy here. I think we have more a little more vogue, maybe. Let me check on this way. Yeah. Usually it's inflated, a bit more inflated. So let me select the t and check it. Yeah, it's okay. Remember, it's first stage. We need to block it correctly, make a lot of change, but we're going to start with this gd line and how you can sill have this overall structure. Let me cut here this part to mark a little better the glu here. Let me cut this sion here and here too. Let me use the high polish and here the same thing. Let me move here, this transition, and this party here too. So let me see. It's a little box here. Yes. So, like that. Too much. Maybe y. And let me smooth th that. Just a little bit. That's okay. Just to mark it. Then we're going to increase it or you guys. Here, it's just the overall blockage. So the t again, because I can see in on on. I can see it on a unique mesh on Let me move this part here, simulate the tripe here. Here we have the biceps in this region usually. Let me move a little bit on this part. And here I can try to pull this part a little bit, and I can use the hyp policy here a bit here too to make more square. This part, that's good. I can try to make more square on this part here. Good. Just to mark a bit. The organize part by part. Yeah. That's okay. This is the first part. Remember here I'm keeping this gap for me it's better to work, for example, I call close here. But for now, I'm going to keep this gap. Because then to make the topology and the destructor it better. Remember, we are doing a character for game, so we need to think on that. So let me see this part here. Yeah, can be better. So is it, guys? In the next video, we're going to continue? L et me check here. Yeah. Next, we're going to continue. We're going to start our challenge and refine these things, but I think we're going to block the hair a little bit and maybe change the head, some things, but it's going well, very cool. So let me just check this part here. Maybe br make this letter M. And change ale bit structure. Yeah. Maybe it's good. Let me use the hypolsh a little bit here. Yeah. So yeah, that's okay, better. So how you can see just with simple movements, we can create this first shape. It's not beauty, but it's going well. It will work. So see you in the next video. 11. Starting The Torso: And well, guys, now it's time to create different ways. You can play a little bit with different ways, expression, heads, different heads, if you want. Play a little bit with the shapes. It's a good way. For example, you make this little test, I think we can say, for example, we can play a little bit with that. M different silts. You can test a lot about that. And have a little bit of the shapes, break a little bit, the structure. It's a good way to make different visuals, different style. You can play a lot with that. Here basically is what I'm doing. I am playing a little bit with the shapes and testing different things. Let me this structure here a little better. Let me now merge a width. Let me see if I can make this this way here or not. Let me test this structure here, think that it's better this side. I'm looking here a little bit. This structure. Well, let me check here. Move back a little bit this part. Yeah, it's better. Let me see. Yeah. I think that's okay. Then we need to fix this part here too, of this structure. Let me check this part the year. Let me see here. Maybe more here. Let me move. This part here too. Et me check this connection here. Yeah. Let me cut here, this part, and remove here a little bit, Py the mesh. Linda. That's okay. That's good. David perspective. Of course. Let me s d because I can see all the other elements with a more dark tone. Let me create this. Usually I have it's a wrinkle here just a bit. Let me try to remove and create this variation here. Then, of course, we need to make thetas and all these things here, so we'll be better. Yeah, before now, let me select the teeth again. We have these two shapes. Shapes not two ethnis. Nos have changed. You can make a Calcassian or other way. It's depend of you. Of course, et me see can be. I don't know. I think I could move out this part a little bit in front. Let me see. No. Probably I going to have this problem now. Let me destructor. Let me move here and here, just to check that. Let me see here. It's a little better. No, I'm going to keep on this way. Well, is it what are you going to do now? It's merged together with the dorsal, and we're going to start find ale bit about the ways and improving it. Let me merge. That's okay. I can use dynams again. This part of the ios, I need to fix it then. Let me crease at maybe 100.5. No, I going to keep 128. That's okay. Let me move this part, the connections here. This transition. We have a connection here. This guy Here we have the clavicle and the strong landmark here, the pectoralis. Let mark a little bit more strong here. That's okay. This part the deltoid. Think that's okay. Let merge here two. This part here two. That's good. Then we're we're going to use the reference to create these landmarks. Let me see here. I think I need to use the reference then. To organize the things. Let me see. Let me merge the deltoid. Let me just make this movement here. Create this landmark. Let me remove here a little bit. Be we're going to bring the pectoralis here, so we'll be better to create this cavity here. I think I don't know. It's just a test. Structure a little better on this way. Let me bring the deltoid down meres together with the other part of the body, update the mesh, and smooth this region. This transition here, and same thing here. This part comes onto here. More or less, remember is not a role. Let me divide here fibers, the dotid. Let me check here. Let me see. You have it kind of this landmark here. And we have these guys Lar press Control Z Control Z and make something more like that. To start organizing the shoulder here. Let me check. Same thing to this part. Remove here a little bit. Hold out to make this landmark. That's okay. Let me see how this structure. Maybe we could increase a bit. Yeah. And I'm going to try to fix this first part first. Yeah. And we can start marking the elements. Here we have the pectoralis. Here, the linea alba. Let me see more or less here. Let me check here. Here, we have the rib cage, more or less on this part coming here. And more or less here in the middle, we have the lat sims doors division. C coming to this direction here. I'm just dividing it to organize better. Here we have the the oblique. Let me mark it Pectoralis Limo Dorsey, more or less here. And the oblique abdomen. And here have the part of the Let me see here. Abi cage. So I'm trying to mark it just to find the element. Let me check here. M dig now. I'm trying to find it. I can make a little different. I don't know out spark here, it's too big. Try to reduce a bit. It's better. Too exaggerated to. Let me make different this w. Now I need to remove all these wrinkles here. Yeah. Of course, here it's our symmetric, then we need to break it to. Let me see here. Hy polish can be or just to remove this part. This connection comes here. It's here. Let me try to find that. Let me see here. This division. Yeah not good here not so good. Let's move moralize on this way. Maybe. Let me optimize that. Let me see here this part, try to bring at bit. Usually this part, we can see a little bit more too. Let me check. Yeah. Usually, this part is more visible. Let me try to move this way here and here the same thing. M n here. That's okay. Try to divide a little bit more this part. Let me see. It's not perfectly yet, but don't worry and basically here, we have the pectoralis on this part. I'm going to try to bring more tanks here on this. L et me see. L break here a little bit. Let me continue adding it. Let me check. This part it's too intense yet. But no, that's okay. Usually, we can break on this way. Let me see. Test the shape. Let me check too much. This part is more flat. Yeah, Let me check here. Now I need to find the correct shape here, that it's a It's a little difficult, but it's normal of this first part, no problem. So we need to try to find this element. Let me update the mesh and I can move. Remember to mark here the pectoralis. So let me mark here a little bit. Same of this part. Let me check this region. Let me see. Move at bit, not too. Recognize the things. Let me check here the landmarks. Strange yet, but it's going well. L et me fix this part here. It's a strange. It's not good, of course, because the first moment. We are blocking this part maybe more up this region. Let me use the hyp policy here too to try to find the correct shape for this first moment. Let me change this shadow. That's okay. Let me remove this part here too. Let me check here. Let me see. Let me move a little bit more. It's mash mash, but don't worry. Let me remove here a little bit to just find the shape for now. Let me try to fix this cavity. Yeah. Let me see here, how where we can start organizing things here. Let me check. This volume here a little bit more on this way. Let me check this part, this box. For now, very process. Let mark here. Et me try to bring this shape here, just to organize a little bit more and remove here a little bit to use the standard to mark L et me check and pass these elements here. I don't like to much of this disclay to make that. Let me return to the Mica skin six. Don't worry, it's very ugly yet, but it's normal then. We're going to fix it. Let me use them standard to create this organized mesh here. We have the parts. Et me check this element that we need to start organizing. Same thing here. Let me see. Trying to fix that. Et me organize the things. And try to fix the first element. Let me break a bit to the design of the guys. Let me see here. I think this one we don't have or maybe we have. Basically we have this shape, so I need to try to find that. I find that. Yeah. Let me bring more volume here. M on this way. Yes, and here the same thing, then we need to fix that. Let me check here and here we're going to remove a little bit and now I need to try to find the correct elements again. Let me see how this part here seems that it's. Then of course, I need to the elements of reference. 12. Continuing The Torso: But here seems that I have the rib gauge, for example, on the way here coming to this part. I want to bring this feeling here first. For example, to this shape, I think we will be better. And to mark here. So Let me see. How you can see it initial. It's a little difficult. It's normal because we need to try to find these elements, different elements and sees that it's a more difficult, but it's normal for this first moment, then we're going to increase that. Here we have this line up. And here I want to try to bring the shapes. This first moment, I'm trying to bring the shapes. These little little landmarks. How this structure here then, I going to see correctly here, basically have its disguise and we can try to fit it. But for now, I'm just trying to figure out the blockage. This first moment. But of course that we have, for example, the symmetrical shape. This bring a different visual to the character two, it's a little different, of course, because it's symmetrical, so it's not too good, but we can just break it down. For example, this part here, seems that we have this shape on this way. And we can try to organize on this way. But of course, here's not time to make this structure now. I'm just testing and looking the overall shape. I'm not happy with this part. But how I say you, it's the first moment, it's the first blockage. The first blockage, it's possible. We can make that. I theple here, but I can make it then too. This structure may be here. I don't know if it's to inflated. I could try to remove a little bit to this part. Let me check. There was a hy polish here too. Polly sheet. How I say you have a lot of work until we got the final shape. We can break on these lines if we want or different these lines here. We not to make that. I think just this first part here will be ou this contrast here will be enough. I can use the hy polish to call it to inflated. It's not inflated, but it's to between things. Let me see here. Yes, it's better. These connections here are not so good yet, but well. L et me merge with the arm. We need to be pay change when we are creating from this point because when you make only anatomy all the time, it's very easy, but when you work with different projects, it's not too easy because you make a lot of different characters, it's not so easy to make that. That's okay this part here. That's okay to get this space. That's good here. You'll have the dealt. Let me cut here. This landmark here more or less. Of course, we need to work separate that here, and here we have this part. So Let me try to organize here a little better. This landmark this transition here is not good in my opinion. This part here is not good. Let me try to fix that. Yeah, I bring a bi. L et me check. Maybe then we need to fix that. Yeah, we need to continue here. L et me check. This part, it's a little strange, but no problem. Let me move a little bit this part. Let me check. I think we work. Let me test this structure here. This different structure. L et me just test here. No. It's not going well. I think we need to fix this part here of the ti. I'm not happy with that. We need to fix that. Let me move in front here a bit. This part and this part back. And this transition here, Let me test. Let me see here. Let me mark this guy, something like that. Let me check here. And Let me try to organize a little bit better then we can clean it. Now we need to fix the frontal part of this region. I'm trying to, we're going to organize. Let me check here. Yeah. Remember it's the first blockage at D O. Let me see here. Yeah. Let me try to make different this guy here. Yeah. Then we're going to fix it. But it's going well. It's strange yet, but don't worry guys. We're going to fix a wit. Same with the trapezius going to this direction. Let me see here to this part. L et me organize it. Just block edge just blocking. Let me move a little bit. Ma this transition. No, I think it's to fin this part. I'm not happy with that. Let me make a big block here. Maybe we'll be better. First part. Let me guys here. The head maybe yet. Os here too. I think we need to have this this shape. Let me see here. Yeah. Let me break a little bit and make break this part. Let me. K. I'm a little messed about in anatomy. But I'm just blocking. Then I'm going to try to find the work with reference and try to get a better reference. This connection here, it's good to sometimes this transition here it's important to. Y. Let me check here. Doing things. Yeah. Let me check to this way. It's better a bit. We're going to continue work on it. I don't know. Maybe they had it. We need increase it a little bit. Just going to make a test. Let me see. No. Let me test here. Yeah, maybe something like that. And moving front a little bit. Yeah. Let's see like the eyes, move in front too, to fit with the body. Something like that can be the eyebrow. Let's see. Yeah. The move, move out, not move in front a little bit. Yes. The teeth can be. Let him this part and a bit more. L et me check here. Yeah. I forget to activate the symmetry of Let me try to use the mirror. No, it's not possible. Let me see here. Et me at the symmetry and make this landmarks again. Let me use the inflated holding out to open a little bit this landmark. Yeah. Now it's better then we're going to fix that. Yeah. Let me see here, polygon by polygon to organize that. F out that's okay. Et me see Yes. Let me check the teeth. Yeah. That's okay for now. Let me hold this guy and hidden this guy too and we can work on this part here until we get a better shape. Let me see. Continue with this part. Let me check here. All this part of the t ropasu comes here. Just to mark it. And we can have this this effect. Let me check. Try to remove it here a little bit to keep it more clean. Mize it. And it's going better. Calm remember working calmly, very calmly. We're going to get the result. Then I'm going to increase that. But how you can see, it's better than four. I think this part here is not so good. Let me just try to break a little bit. This part here maybe. I don't like I It's something like that. Break this part here. Let me move it. Yeah. No yet. Then I think I go to I going to work on it. It's something like that. I created the fibers of the pectoralis, like that. But we need to work better on it, so press Control Z and keep on this landmark here. This part here, it's different too. Let bring more volume Mars move a. More clean. Yeah. Here have the Nippo Let me try to mark it. Just make a small landmark here and try to figure out that. Let me see here. L et me check. I want a more curve at this part. And I can erase this part again if I want. Yeah, then I'm going to organize it again. I think it's not good pectoral yet. I'm not happy with that. I don't know, then I going to fix it again. But let me re think let me check here. Yeah. Think on this way. That's okay, and then we're going to continue. So see you guys in the next video. 13. The Process: And continuing here, guys, basically the overall structure, I confess you that I don't like of this overall structure, but when we are creating for example, strong guys, strong humans, we have this this more how can I say? Let me deal with this guy? We have more more strong anatomy, for example. Let me show you, for example, if we just look to this part here, we have this it's messy mess mesh. But of course, here we have just the blockout, and we need to follow specific concept or specific reference. Because if we don't do that, basically, we're going to try to make different structures. For example, here we have one, two, three, here we have one, two, three, but this part here it's altogether, for example, to make that, probably we will need to merge this region here, for example. It's almost merge all this part and change the overall structure. For example, we could do that and change the elements, for example, to this part here and make different. If we want just an example to change the things. So it's possible, of course, it's possible, and we can mark this region here, then Mark create these landmarks here too. And move and make all this structure. But here we have the noise too. But we are doing it's kind of a hunter, rib, something like that, and more like not to human, it's more like this way, for example, it's it's market. And here we have the ribge information, for example, on this part, here, we have all this noise landmark, For example, this way, let me move here, and let me move how this part move up a little bit more on this way here to this direction. So here we have this part, and here we have this one that it's a little strange because here basically start, here we have the end, ABS. So this part need to start here. So why don't we check the other reference to see that and here is different, how you can see Yeah. I think this volume we need moved out. Maybe. Let me just test it. Yeah. L et me see this guy here too. But here is different, for example, because it's more tall. For example, in the middle. And this all this volume here. It's here. So it's the pen of each project, for example, to let me move here just for you see, have a different feeling. So we need to take care about that. We're going to keep with that. It's just the blockage. Let me see. Yeah, I want to keep with that. And what are we going to do now? It's work on the arms. Let me just move this part. Yeah. Let me had on the legs. That's okay, and we're going to try to block the arms just to get to have an overall idea. Let me select this guy here. We have this volume a little bit more. This volume. Let me move out this part here, this transition. We want to try to fix these elements here, we have the b spice here. And we are just making the blockout here, and we will not see about anatomy now. I'm just blocking here because if you want to learn about anatomy, you can check the other curs about anatomy. I'm going to try to fix that. Here we have the pes here too. So I will just block it. Just bring the volume, that let me check. Here, I think we have the biceps here more or less on this way. And here, maybe. Let me mark this part. I need to fix that. See the arm position. Just adding volume only for now to get the overall idea, and then I'm going to try to bring the correct elements. Let me see. Yeah, I think it's not good. This part, so let me try to mark and bring out together this part just to test. The structure here, it's a little. This transition here, it's a little strange. That, make a mask, invert let me move back. This part. Or maybe I could separate it. Isolate that and used inflate. I want to check the sided here. Yeah. I think that, something like that. Let me see here. Yes. L et me check here. Let me see here. Let me move this part here too. Just to check it. And I need have this space to make the topology. Remember that how this structure L et me see here ring volume. Let me update the mesh. Yeah, that's okay. So now we're going to continue making this. So let me see here and I need to fix all the spot. Basically is it that we're going to do now? Let's try to work on the arm. Here the deltoid also deltoid, the tropasu. Let me try to make a little different Yeah, move here a little bit. The spark. Here to mark a little bit more. Same thing here, the bifurcation. Bifurcation of the sternocleidomastoid. It's here. So we can try to fix that. This part here too, the wrinkles on this way. L et me check that. Let me see here. Try to remove a bit here. Yeah, it's a stre this part, but that's okay. Then we can optimize that. This part here. Let me see. Yeah, that's okay. Let me test here. Try to align a little bit that Yes. This part of shoulder, we need to fix this region here too. For example, this part, it's a triangle here. Let me move that Let me check. No, Italy is mash it seems that we have smashed it. So let me try to bring more volume to the pectoralis. Let me check and try to reduce a little bit here. Bring more volume here. Let me test. No, I don't like it. I press contro can be on this way. Le try to mark here. And try to mark this. This part more strong? No. So yeah, this is the way that I am trying to make. It's just block all the parts. Then I go to organize the elements. Here we have the lot Simms Dorsey. Then I go to organize and make a clean up. So here we have this part. The arm Here we have this region together with the tribes. I need to remember the elements, of course, and I'm going to try to organize the parts. It's very normal. So let me see here more or less on the way here. Something like that. So I'm just adding these parts to try to remember and block the other parts. It's normal. This arm seems that is more inflated. So see here. Yeah. I'm trying to fix it here. And refine this part. And we need work with arm reference. But it's going well. Let me see this guy here. Yeah. The arms, I think need to be This parts more intense. Let me check other reference. Something like that. Yes. So this part here it together. I'm just trying to find the volumes and the structure for now. Then I'm going to try to refine that. So let me check here. And land bring this part. Yeah the structure. That's okay. Did This part, it's different too. It's more intense. Y. The arm here, it's more intense. And we have this structure here. How I say you, it's just first moment. We need block it, it's a little more slow yet, and we need refine and refine. But we are going and continue. That. So is it guys in the next video? I think the next video going to add the hair just to block because this first moment, we have the ugly shapes, this ugly form. And we don't stay happy for that, but it's secret to make characters. And when you are starting these things from sphere, it's to continue. So we're going to try to block the things and organizing it. So this part, it's more like a block on this way and have the hand here. Let me try to find it. Then we're going to skip to the arm separate. So yeah. I think it's better. Let me check here. Yes. Yes. Let me save that again. And in the next video, we're going to continue. 14. Adding Hair Idea: And I go to add the hair here, just a simple hair to test it. This port maybe I could bring more the maxillar here. I think this landmark it's better. So let me try to bring it out. Of this structure here. Let me use the high polish a little bit. Just testing. And now I can smooth a little bit too. Yeah. Let me make a better transition here. Oh, yeah, I think that's okay. This transition. Then if I want, I can increase that and make the little details refine that and Well, all these changes. Let me fate a little bit more the year. Maybe something like that, it's better. Yeah. And let me try to create a sine to the hair. Let me select this here. I think maybe something more like I don't know. I have a lot of visuals here. Let me test. Now here we play at the shapes, press control. An active dsymmetry. So let me see here. Now it's time to play a little bit with the parts. Of course, we have the concept while we have the different hair. So let me test that Black hair it's a little more difficult to find the correct shapes and all these things. Could make more square shape. Just testing, we're going to make the other visual two. Let me see here. Yeah, no match seems that no match this. This visual here. No maybe something like that. Let me check here. Let me see. Try to put more in front. We can play a little bit of this visual. For example, test. D match very well. That's okay. Let me duplicate that and hidden. Well, this is not necessarily duplicate I can delete and appenda I don't know. This visual here. Well, let me test and I can try to block that. Of course, we need to work probably with hair cards and all this stuff here. Well. Let me test this feeling. I don't like too much of this visual. Let me test. Here in adaptive skin. I can reduce to one set zero. I broke a Yeah, I broke it. I broke I broke a or I broke. I I don't know if I broke it or broke my keyboard playing league of allegiance. So sometimes we have this noise here because that Let me test this go here the here. Let me see. It's more or less here until here. This part start here. Let me test this design. Yeah. But I I confess to that I don't like too much, but well, let's test that. And I going to turn it adaptive skin. Adaptive skin Yeah, M adaptive skin. Now, I can rotate that and try to Well, I go to delete that. Ap This one mirror and well to test it. I don't know if this visual will match. Then. Remember, I'm just blocking yet. Let me add other here. Yeah. Pens here. Move up. Let me try to ring here. I don't know yet. But well, let's test it. Let him move here. This part have all these other regions here. Let him see the treaty and I have here and here and here, maybe going to do that. Adaptive skin. Yeah, I'm going to make adaptive skin, delete this one and a pend the other delete this one, and a pend this guy here. Well, let me check, pen it's here. Let me see. Let me test how I say you, I am just blocking. T. L et me try to move the sky. Let me use the inf deformation inflate. Let me see here. Inflate. Press control Z. Yeah. Contrast can be to Let me try to attach this part here. Duplicate that. Let me use the mirror and weld. Subo duplicate that TV symmetry. And set more or less here. Deformation contrast to contrast to contract to contract it. Let me see this this vibe. Maybe we're going to make a connection here. Here and here we're going to have other parts, maybe. I don't know yet. So let me see here. Yeah, this way and this guy here, same as that. We have more hair here. Same as, we have more hair. And maybe this part. No. I think we need one more here. Et me duplicate that. And move here. Let me see. Yeah. Remember, it's just the test yet. It's not the final version. I'm just trying to pose the element. So see here. Yeah. Check this one. Yes. Let me move the deep here. It's a. Let me select this guy here. Try to change too. Let me move a little bit and try to connect here this part here too. And let me see here. And this part here more or less. So that's okay, Let me duplicate this other. Turn of perspective and move down. This little guy here. Maybe here, guys. What are I going to try to do it may make in here. Yeah, I think can be same thing with this guy here, Martin Flat. Yes, we'll be better. Let me see this other. Yeah. Let me see, the t. So it's not perfectly yet, but let me duplicate this other Try to scale it and maybe rotate a little bit on this way here. Yeah. On this w. It's just a test. We need to block it then and make better and all these stuffs. Let me see here. Now, this structure Yeah. Let me append this few again. Let me test. Let me test. Let me see. And I going to create the tao here? It's It's not the tao, but here in Brazil, we call it to. So we can make some like that, maybe. I think that's okay. This new design. I think it can be short short perspective. And we have this red design. Let me try to move up this guy. And organize better. I want to apply a bit the physical shape here. Let me test. No can be here. That's okay. Let me inflate a little bit here too. And try to make something like that to have this I don't know. This line here to me it seems that. It's better. So let him move and this line here. I don't know. Yeah, I think can be here. We try to bring a little of this volume here. Here we have the master Esterucle maastoid bone, and here we have the mastoid matter. It's here. So let me move try to find a better design to that. From back, angle, it's good, but from side, works. That's okay. Sorry, the nice guys. I don't know why. Today it's very buzzy on the streets. I don't know why, but I can control it and I can't isolate it to okay. Let me see at this sphere here to have more suivision, make adaptive skin. That's cool. The leads one can be. I can now just append the Disney one D mesh only. And that's okay. I can create this this shape here. I like it. Let me set to more here. And out together the sport, try to hid the tip. Yeah. That's good, Maybe then we can reuse that. Let me see here. Let me check, smooth a little bit just to get to the side of it. Let me test No, I think I can press Control Z control Z control Z. Yeah. I can be this w. I'm just trying to find the siloed here. Maybe try to merge this part here together. Try to find the more curved part here. Let me see. I don't know yet. Let's go trough the go through the. For now, I'm going to keep on this way. Remember, we can't close the month. Then I just I am keeping the mouth open at because we need to make the repol all these things, but then we're going to have the month close so we'll be better this part. Yeah. So we're going to have something like that will be better. Yeah. Press Control Z contro Z. Yeah. I don't know I don't know about this part here. Maybe I can to remove that. I don't know yet about that. Maybe I make different. We're just without these meshes. Let me test Yeah, maybe something like that. Let me try to come to this w. So more in diagonal. Yeah. We're not Bring more in front and this more in front two. These other two. Let me test the here. Yeah. Maybe something like that it's cool too. From side angle, it's very very good. Let me and turn on the other mee here. Yes. And let me test with this guy here, duplicate and try to set here. Let me use deformation and contrast. Well, let me increase on this way. And use the inflate here just a test mirror L et me remove this guy here. And just keep this. This one here. And let me duplicate this part and make a test here, maybe. Let me see. Here more or less. I don't know. Yeah, maybe it can be. Let me duplicate that. And try to move here. TV symmetry. And to create this remake. Yeah, maybe can be. It's a good idea. Maybe. I could add other thing here if I want, but I going to keep only the hard or for red here. Let me make other tests. I like to make tests, et me duplicate this one and this water. Let me test this part. And try to add this way here. So let me see. Here. No. I don't know. Design is not so good. Make two sins here. I'm not too happy with that, but it's important we test always testing. So we call to other parts here, but I am not that. Let me test. We are testing, not? Let me duplicate that. And see. No. I I don't like. So let me see here and give this one this other. And maybe I don't know yet. I go to keep this one or I merge and keep one here only. But no, I go to keep on this way. I like that. The visruw, have this new visrow here. Here I can s move a little bit. And the eyebrow and we can change the expression. Let me a this this guy here. Yeah. And this one I don't want. Don't want and return to eyebrows. And I can have a more clean or not. I going to keep more aggressive. That's okay. Let me select this part and apply a color here. Color feel object. Let me test and try to bind the hair to this color. I think we call have the Hardy Key G to repeat the operation like I have Maya. For fill color. Now we have this structure. Yeah. It's going well. Yeah. I think this resign it's good. We have these other parts, but I don't know if I'm going to add this element here, but this one here I like it. So we can have this trib and maybe here. Yeah, I can add. I think this part here it's good. This other part here can make different here. Here I'm missing something. We call have something. No. That's okay. I call bring from this point. No, that's okay. I'm going to have a coater. Here I have other co here That's cool. And you have some parts here that I can add. Yeah, we're going to have a good character. To the nos, this part I will not make. I'm just going to keep on this way. The ales, that's ok. Let me see. That's going well. We need to fix the shoulder here. Et me see here. Yeah. That's okay. Of course, we need work on the anatom yet, but it's going well. Fix these other parts. And is looking like, but I going to keep this nets. The aos see when we fix this region here too, we're going to have a better two Of course, these things we need these things we need more dynamics to fix that. So don't worry. L et me see. No. Yeah. We not make changes here. It's not time. To do that the month. Yeah. That's good for now, how you can see have this character, this filling. Little different, but more aggressive, have this snake. But maybe I'm going to make some tb, but not a snake, something like just trib. Thing like that two triangles. That's cool. We have a lot of things to do here that we can get a cool character in this part here. Yeah, awesome. Awesome. Awesome. You'll be a great character. Is it guys in the next video you're going to continue with, see you in the next video. 15. Increasing The Arms: And well, guys, continue here. I like to use the scar fab, use other models to bring this understandment about anatomy. So when you are working with T D, you need to understand that you need reference, and don't try to make the things without reference. Okay okay? We have some points, for example, the abdomen here, it's different because this guy decide to make different then I can fix it, maybe. We have some a little bit of gisring here, silt, it's more posed. It's more expressive character and here's more like a T pose. I'm trying to keep the t poles here because it's more for games, so we need to make it more posed, then the animator can reach that and make different. But this model here it's also on some So Daniel McClogan. And well, let's continue. What I have done here, guys, was just change this silhouette of this part of dar. So we have this part more flat. And this flat region is when we have the hand pent. So basically here I have changed a little bit because we have the hand more rotated. Let me see here. And I'm not happy with the piece. But here I have other echara where we can see the element, so we can change a little bit. And I think that the bp salut by side view, it's okay. But the tricep is maybe here, I need to change. So let me in these guys here. And the head two, maybe the head it's too big. I don't know yet. We need to fix that. And maybe let me check the reference. I'd like to use this one here to. It's more round it's kind more cylindrical. So let me bring the trips here and have all this mash connected here. And here we have the triceps to coming to this direction. So I am marking more strong Yeah. So let me see how you can have this part appearing here a little bit more. Let me see here. Let me turn off the motive specter. Let me check this angle. Have all this part here, and here the same thing. Of course, guys, we need to study anatomy to remember all the elements because it's a lot of things, so it's not easy to remember all the Muscles, but that's okay. Let me check how I change the light. Yeah, hold out. And I have more this visual here. Here seems that I have this triceps more connected here and coming here this part. And this guy to this direction. I like to copy when I am studying something about anatomy, I like to copy and make some parts different. It's very helpful for me to use this idea. So see here, bring more volume here. Now I can move a little bit. Let me check this angle here. Et me use the move topological to bring the side it here, but take care to not make mesh. Let me bring this region here and try to mark this part. Let me and bring here. All these moc have connected this part with more volume. Seems that we have more volume here. And this part here too. Let me check's a little better. Let me see this region. Maybe it's more a path here. So here we have the biceps, have the other muscle here in the middle. And we have the this other muscle here that I forget the name. It's Let me try to remember it's the triceps. Oh, my God, it's triceps. Come on. So here I'm trying to find these elements. Let me check. Spart then we can refine it. Of course. So let me check on this w. Let bring the volume here to to the deti too. It's a little more mass, but no problem. It's more marked because I like this shape here. So that's okay. This bicep, this part here and here is shorter than the other arms. I need to take care about that to let me check here and bring out this part this volume here. So in that I divide it. I am a curating this this shape. Let me mark here too. So how you can see I'm just I am work on the de silt only. And here we have this volume now appear here. It's very, very good for us and here I can remove and create this landmark here too. Stromal staly ful for us and have this better visual. I make this angle, break a little bit, this square shape, and maybe here I can bring a little more of volume two. Let me check. Maybe here I can bring this part to connect here maybe more on this way. Let me press, click here on the Altoid, move the muscle and try to bring this. It's inflated. Let me test a new design. Let me test. Let me see the other part. I think it's better on this way. This connection. And same thing, this guy here. I bring to here. Let me see. Yeah, it's better. So how you can see we have this more interesting shape. Let me see. Let me hid in the legs. It's not time to make the legs yet. L et me check here. Yeah, let me I don't know. I think it's necessary. I I make the the shoulders too strong. So let me try to put this part of the vice inner maybe. I'm not happy with this side of it. Yet. So let me move here now. L et me check. Let me create this lio landmark. L et me see here. No, I'm not happy with that. It's good, but I'm not happy because we need to make the topology and all these things. I'm thinking about that. Probably then we need make different to be able to make the etopolgy, because it's for a game, it's not to scooped, so it's different. We need to think about that these parts. So let me see. And this transition here I'm not happy. Let me move there, and bring this part here. Let me test. Let me fix this region and maybe try to a hight connection here. Of this part. And here I can use high polish, for example. Let me check here. Let me just check. Fat, not yet. I'm just take care about this part because how I say to you guys, I have the topology then. I am trying to organize better here this part. It's not so good. This region it's a strange and all the stuff, but that's okay then I need to fix that. I could use the topology. Maybe. Maybe as, maybe not. Here, for example, I can try to cut them this way. And here we have this information. Then we're going to scope to this back part of the caracter. Let me check here. Use the hypols a little bit. Yeah. Then we're going to fix it. Let me see here. Yeah. That's okay for now. Let me see this region here. D tight landmark. Let me just mark a little bit this part and here we usually have more volume, but I not and a lot of volume. Just mark it a bit. Then we're going to fix this region. This information it's better. Just the volumes and landmarks, so you can see Here I have the muscles, where we're going to connect this part here. For example, the region. Let me see here. Here we have the bone. More or less. Let me try to refine that. Then the next video, we're going to start organizing this region here. These connections. Here. How the sparks? Let me see here. Et me try to fix this part. Bring this little volume to here. T organize that and same thing here. This little landmark. Can reduce a bit. No. Let me check here. Yeah. I can be here. That's okay. Let me use inflate here a little bit. Yeah. That's okay. Structure. Let me remove this part, this part and this part here. Maybe the shoulder here. Let me cut this part and hold out and bring more volume here. And use the high polish to mark it. Yeah. Try to bring this volume here. Yes, it's better. Let me mark here. Yes. So yeah, destructor it a little better. L et me check, make a mask here, maybe. Or not try to bring on this way. Yeah. Yeah, it can be. More interesting. Let me create this landmark here to divide the heads of the Deltoid. Let me make a little c because it's a lot of me. So how you can see, we have a better. Let me just more volume here too. Yeah. Let me see. Break a little bit decide it. Yeah. Et me check. No. Return here. Yeah, I can be this first moment. Let me check. Yeah. I don't know the to it we can make maybe move up a bit and this part in maybe. Et me organize. We have usually this shape. Let me try to organize here a little bit. Try to bring volume here. To then fix this part. Let me see here. Then we're going to rework on this back part. But that's cool. Let me check this side of it. We can break a little bit if I want. Just a bit. No, we're going to keep on this way. Let me save that. And look the difference to the arm. So small landmarks and little chains. And we have this structure, more strong. It's kind of Maybe if we want, we can change the deltoid information here too. I know. It's to inflate that. Let me maybe use the hypos only. Just a bit yeah. Let me check or not, then we can fix it. No, but I like it on this way. Let me see here. Yeah. I like it. Then we can make different. Let me sweep the color, at white color, and we can see other MT cap. Medica preview. Let me see. Let me return to this one. So I have this, this aggressive guy. Like this one. Oops not this one, this one here. Let mark a little bit more the p. Sample here. I will make it then because I have saved and I lost the pen pricer. So don't worry. About that, it's normal. One thing that I going to do now, I have saved it. And I go to guys lower here. This guy here. And I go detach hands. I don't know. Yeah, I can be. And I go to attach Let me see. The feet. No. Let me check this order or think that it's better. Yeah, I think this guy is better. Let me decree supervision, geometry, the Higer. This part. Maybe more to here, let me activity display properties, activity double. And I think that's okay. Let me inflate maybe here a bit. This part here. Not too, Here too. Let me check. Yeah, I can go to the hidden and save this part and. And now load the ps go here. And a pend these hands here. But I don't know this structure, it's different, the units. Let me set the center of the pivot and let me scale because it's to bigger. Usually, Let me delete one side. And let me set to the center of the hand. Usually the hand it's more or less a little. It's almost the head side. It's more or less, something like that. Yeah, it can be. Let me test. Yeah, maybe something like that. Let me check here scale a little bit. Try to fit that. And now have this little challenge. I don't know. I think I need scale a little bit more maybe. And I need to rotate that. Yeah, something like that, maybe. Yeah. D. Let me check. Use the mirror and wild. That's okay. Let me go to this guy here, like the teeth. I don't know. I think we could move up the hand more or less here. Yeah. So reduce this part here, change a little bit to the structure, and make morphine this part, maybe. L et me cut here more or less. And use the hy polish to try to fit it. Let me move here a little bit. Let me here and red here. Well, let me use the hy policy here again. Let me check. Let me see here. Let me try to fit that. Let me see here. Yeah, Let me select the teeth. Let me press to dynamic preview. Of I need set a different position to that. But I think that's okay. Yeah, here it's a little strange this part here. So let me see how we're going to fix that, but that's. Yeah. Let me see it. Et me check. This angle it's a little strange, but that's okay. Then we're going to we're going to fix that. So di me. I don't know. Maybe in, but I don't know if I want inflate or or something or big Big hand. No. I'm go to geometry. Let me see this position maybe something more like that. Yeah. Maybe we need work on the hand spread expression. But that's okay for now. It's good. That's good. The overall structure. Let me save again. Let me loaded previews. And we can see the difference, the structure, the guy coming to life. So this expression verter. T more aggressive. Yeah, that's good. Some. Let me just check. I I I have saved that. Yeah. It's okay. This is a new version that we are working on. It's going well. Maybe this part here we need to fix a little bit better this line here, for example, the deltoid. But we're going to fix it then. First, we are just trying to block all the model and check if it works or not. But, see you guys in the next video. 16. Sculpting Back Torso: And continuing here, guys, we're going to block this back part. I like of this model because it's more how can I say it's more natural? Seems more natural here. Let me just add a little variation here. L press Control Z and try to bring it. Let me cut it a little bit. Seems that I have It's not cut it's reduction here. This variation. And Here I have this part. Let me move ale bit. Let me check here. Have this transition here too. It's important this landmarks. Of course, then we're going to refers that. Here to the other head of the trip. I'm marking a little bit more. Let me remove a little bit here. Create this visual. And force a little bit here too. So let me check. I don't want mass at at this part, so we need to make something more clean. Let me try to move this guy here. Let me see in front. I don't know if it's a good idea. Let me check here. Of course, we need see the other reference. Let me see here can be. Yeah, seems that we have all the parts together here, and it's very marked this region here. Let me bring volume and more volume here, and here we can make this movement. Try to divide in two parts two muscles here, for example, don't make a lot of things. Just make more simplify it because we will be better to make the details then and it's not too messed. Let me move and bring a little more movement here. Yeah. That's good. That's enough. This part here too, I'm going to try to merge. I have this angle. It's this w. Let me reduce a little bit to this landmark. Don't want to mark it. Let me check. It's better. This part is more an diagonal. It's to this direction. Seems to the direction here. Yeah. It's better. So all these things can be very we can make very calmly. This part, it's a little strange yet. Let me try to maybe This transition is not so good, try to reorganize that. Yeah, it's better. So let me see. Yeah, can be. Here too, let me bring a little more cylindrical, mark curved not to flat this part. It's better. I I'm ha with that. Let me use the standard just to here. And use the hypos here a little bit and smooth. Yeah, this little volume. Can be, let me check front angle. That's okay. This part to have the distance. But how I say you for me it better because then we're going to make the retropolgy. Probably maybe I going to make something like that to make the etopolsa, try to organize that. I don't know yet. Let me move. Just I going to separate it then when we need to make the etopolc. But well, that's okay, let me return here and we're going to follow this reference. We have here the Latim Basically here, zymods, and the lazimodos comes to here, so it's the shape. It's one, two, three, four planes. Basically here one, two, three, four planes, one, two, three, four planes. And we have a little bit of the oblique, here, this guy here, external oblique, the abdomen. And we have the rhomboid here, the muscles, where we have this volume. It's together. The scopola under it, and we have the tropasu here. So this is the natural guy, and here we have the spine. I don't remember, think it's the axis, spine, the name, the cervical part bones. So it's dependent, it's more natural. Of course, and here we have something more a little bit of stylization where we have this division. For example, we have here the trapeziu for example, but we have this division Rhomboide Simms Dorsey, but divide that here. I like this visual. So I'm going to try to make something like that. Let me turn off dynamic. And we can try to make something like that. Let me come here and add the volume this part here. L et me. Yeah. M on this part, usually the moocs M M here. Let me see. That's. Let me bring to this region to Let me check here. And here we have the deltoid. I think I need to cut it a little bit, the direction comes until here, and here we can cut it to make more sense. And out this part here, the laimus dorsi usually it's here from this part, and the tropas comes to here, and the latimus dos comes until here more or less. This part. And here this region. That's okay and the t sims dorsi. Let me check. Here we have the spine formation, and we have this sport L et me check here. This way here. Yeah, it can be more or less on this part here, this division. Here usually you have more volume. This part. When we have more weak guy, this part it's more flat and we can see the bones. But when we are talking about strong guy. Usually this part here, it's not the bones here are not too visible. So just me bring this volume. The tim doors. We can divide in two parts here, for example, It's on this way. How you can see here on this part, L et me check and we're going to make the gluts coming from this part here. More up. We're going to invert a little bit and play a little bit with the shapes. It's here. Of course, we can play a lot with that. Let me check here, and here we have this information. Let me and move. Let me see here. L et me cut here just to create this more intense silut. Yeah, it can be. This part seems that we have more volume here, but that's okay. Seems that this part here too have more volume. That probably will comes to region here. It's not necessarily spend a long time here because we're going to cover it. So let me remove the flour. And this part is not good. I don't know yet, but it's not good maybe because this part comes here, maybe. And outs parts different structure. Let me check this little volume here. This part here no make two sens. Yeah, maybe it's better on this. Let me check. It's a we have a lot of deformation here and it's not good. Let me use the inflate here in the middle, maybe. Yeah let me check. We have more volume, here, more cure. Let me see here. Let me check. Here we have more volume, here we have a volume. But remember, I'm making a male, we need to care about that. This part itsther. That's okay. And here same thing. Let me check here, it's kind of this this curve this landmark, sorry. Let me check here. This guy. Yeah. That's okay for now. Let me check this part. This volume. This good marking very strong here, making this strong landmark. Here I am creating this this structure here. This new structure. Let me for a little bit more. Create this variation. Yeah, I can be. Let me check this part. Let me see here of this structure. And here. Let me check and bring more volume here. Yeah. So that's okay. This landmark for me that it's good. Remove a bit of this part, this volume here, reduce a bit. Yeah. All right. And here we have this shape. N B. Yeah. Let me check. Let me see. Just play a little bit of the shapes, reduce a little bit of this part, to remove a little bit of volume. And that's okay. It's strange and Diagonal. I'm not happy with that. Let me check the t poles here. It's more like a butterfly. So let me check here. Let me see this part. Let me check this part here. Come until here. But I can't cut this part here. Let me press and try to mark a bit more this part. Just mark a little bit more. It's kind of more a butterfly. Let me check, can be way. Let me check. Now it's a little better. Let me see here. Yeah. Let me cut a little bit here. Yeah. Of course, we need to work on the leg yet. But that's okay. Let me try to remove a little bit here to bring aside to it. Yes, better. Let me try to mark this part. Yeah. That's okay. That's okay. That's enough for me. That's enough. I can mark it very strong landmark. And try to mark a little things. Same thing. This part. L et me check. Remove a little bit of volume, make this better transition. Yeah. And make this structure here. Let me check. The structure. Move up a little bit. Maybe. Let me. Or not. Yeah. L et me see here. Side silt usually have this shape. Let me check. This more aggressive. No make difference in front. B back part. L et me see here. Yeah, I like of this part here. Let me just mark it a little bit more. Let me see. Let me try to remove a little bit of this part. Let me check here. And these guys I can move back a little bit. Yeah. Let me create this landmarks and try to figure out this part. Let me check here. I This part, it's a little Let me try to remove a little bit and create a variation here. Will be better. And not to flat, of course. Let me see here. Let me check. Yeah. Can the in here bring more volume. Yes. Yeah, this volume here. Let me check here. T Of course, I'm playing a bit with shaped, not perfectly anatomy and here I can play a little bit with these elements. We can enjoy it. Mark a bit more. And create this contrast more interesting. M market to it's better. We can move this line here a bit to create this ag aggressive guy. It's a guy that go to dig. Yeah. Let me save it to comparate with the other. This back part here we can increase. But that's okay. That's okay. For now, that's okay this part. Yeah, that's good. Mark this part and comes here. Yeah. It's enough. We can see difference. Sample early. Now have this more aggressive guys. I want to smash you. Just this part here, it's a little strange. Maybe I this part. Try to move something like that. Maybe. I'm not too happy with this this part here. Let me try to merge it, maybe. Let me see. Let me check. Let me see here. Let me check this part. Yeah, not bad. But I don't know this part here. Usually have this muscle, but maybe we can end it early to. It's a good idea, maybe. Maybe not. This guy here we can finish gus here. It's better. Yeah. That's okay. That's good. It's better. Let me see this guy here. Then we can see other idea here to the gluteus to create something more of a better variation, an once here, maybe. So it's important that we have this different here. And of course, I'm working with low high resolution, sorry. So because that we have this different feeling. Yeah. It's enough. So let me have this structure more aggressive, interesting. This part, I like to add more than this one. Maybe I can mark here a little bit the contrast. We have the bra chase there, but, no matter, we are talking about the volumes and all these things. That's okay. So, we have this little landmark. Front. Yeah, that's okay. That's better. S and we can see the difference. So we can feel this difference. Yeah, it's better, more aggressive and interesting. That's okay. So let me save again. And in the next video, we're going to continue, guys. We're going to probably add the legs to check the overall structure, and then we're going to refine to finish. The secret to the first moment is it make big movement and not try to make small movement. Is it guys here in the next video? 17. Starting The Legs: And well, guys, so continue here, remember, we have the b spice, this part of the darm have this line, the bone. I think I can I could increase a little bit here, mark this part, smooth a little bit and make a continual landmark here. And remove a bit this part to create a more round more cylindrical shape a little bit here. Yeah. Let me check. I think I don't know this. Let me check the reference. Let me see here. For example, this part. We have for these molecules are these things, but I'm going to use this simplification here. Seems that we have this other shape, it's something like that, cure. W. Yeah, we can try to make something like that, and then I can that. Of, So let me check here. A simple ut, but are things that usually going to increase and increasing, but then we can merge it. For example, sport here we can merge if we want, then we can merge and make more smooth at Let me see here. M cylindrical shape. Yeah, it's better. Can move here a little bit. This part too. That's okay. And now we're going to start the leg. Let the defeat simulation here, the simulator the base math to defeat. Let me see. I think we can open the legs here too. So I have this guy here. Let me check. I think this one. Yeah, have this guy so as this pose for me works better because I'd try to change a different character, so I am going more to the It's kind of similar with a hook, something like that. But of course, we're going to make the st bow guy, but it's something like the hook. And so the hooks this design. I don't know. Seems that here we have this shape more aggressive and this oracic parts more aggressive to this guy. But remember, this guy it's very robust, and this one is not too robust. So we need to have this balance here. So take care about that. What are we going to do? Let's try to Let's try not. We're going to separate a little bit the legs. So let me smooth it a little bit the mask. And I want to make something more like let me see here, more nat, something like that. So let me check Let me see. Let me see more or less. I think here it's the mus, de femur bone, and something more aggressive. This pose. Yeah. Let me use the move brush, maybe better pose. I don't know ye. Let me see side angle. No, it's more back. And let me change here maybe to this way, maybe. I don't know yet. I am testing the fing the gesturing. I am testing it yet. Yeah, I think this vibe it's good. Et me see. Let me give the perspective. Yeah, that's okay. But I don't know. I think the legs are too big. Let me reduce a little bit. Let me see. Yeah, I think this weights better. L et me check in at to see the proportion the size. Let me change, go to preference, and apply the transpose unities. Let me check transpose transpose unities. I'm going to set the calibration distance distance to one. And now let me see here until here more or less the size eight heats, can be turn off perspective can be more or less here. So let me move up, more or less here. Yeah. It's better. Yeah, it can be. Other thing here, it's just define at have a better organization here about the leg. Let me move, and this part here seems that it's more intense, it's more robust. This part here and here have this overall shape But here some that it's more aggressive. A this part. The first moment, is it that I going to do just try to bring this feeling, this more aggressive feeling. For example, Let me see if I can try to make more close this part. So I'm using the inflate brush. Yeah. And here we have this region. It's a male guy, so let me make different this protuberance. Yeah. That's okay. Let me just add these volumes, more aggressive. Same thing with this part comes to here, this shape and this other thing. Let me see. Blocking L et me try to mark it a little bit. So how you can say, I like to copy. Of course, I know how the anatomy works, but if I make our anatomy the same, sometimes you're going to have not good results because all the time the guys make the same anatomy. So basically it's not good because all the characters, you're going to see that are the same. So no make $0.02 my opinion. Of co. So I recommend that you may change the shape sometimes and make different proportions will be a good way to make a better characters. This part here, I want to make more aggressive to. So let me see here. Check. Yeah. More robust. And this part here too. Yeah. Remember, it's just the blockage, very early process yet. So let me see here, this guy, the Gastrocnemius Musco. So let me see. Let me check this point, this point, opposite. Well, yeah. We can play a little bit more here. Let me check. So how you can see them just marking. It's a early process yet. Here we have the gastroc enamels, the cut of this part, we have tibial bone. Let me see here this landmark. It's the store side yet, but no problem. We are just recognizing yet. So then we need to fix that. So let me mark better here. Here we will have the knee and the other guy here. Here probably we're going to have coming here to think it's Sar and have this part that we need to increase a little bit of this region here. Let me reduce here and make different. Let me mark it a little bit more up and out this landmark here we're going to increase. Then we need to fix the parts of and see where we're going to fit the element. So I don't know. It's a little big this this port, but I don't know. It's going well. Let him increase it, and make better these landmarks. L et me see here. Let me check. We have the hectus femoris, the vastus majo is here, so let me try to cut it. Let me see here. I'm a more strong landmark, but, then I'm going to try to increase it. Let me try to fix this part. So let me see. This part. Then I'm going to try to organize all this structure here. Of course, it's ear yet. Here we have this Sartorius. On this part. Let me move a little bit. It's just the landmark Niche landmark here. And here the same thing. Let me check here this part. Okay. So of course, we need to increase it a lot. Let me see the other reference. I have this one. It's more aggressive, this part here. More curved. And here is more aggressive. I'm working only on the shape yet. You can see for now. Let me try to mark it the hectus femoris. Let me see here. Then I'm going to try to increase these parts. L et me see here. And this part here too. We I have the sartorius. I am just marking it creating these landmarks. Let me check, this one, this one, here it suppose it. L et me see. Yeah. So let me check here. Have all this structure here. Let me see here. Let me try to fit this region. Let me see this part. Yes. Here usually have this in front a little bit and here we can try to mark this part the ankles. Just mark a not fine version. Let me see here, try to make this w. Then we're going to refine that L et me see here. Yeah. I don't know. It's a little too fin the sport, the legged to fin. I am not happy with that. Let me check here. Let me see if I have a side. Version. Yeah. Let me see here. More aggressive Op But we need to take care because we are doing an, so take care about that. Let me see. That's okay. Let me mark a little bit. Here we have the tensor fact. Usually, more or less here. Actus fema start this way. Yeah. It's something like that. Y. So let me check, refine a little bit. Yeah. Let me cut this part here too. And make some something like that. Yeah. Yeah. It's off course, now we need to fix this element and out this extruture here. Now we need to organize that and see how we're going to fix that. Usually here triangle in this direction. Yeah. So let me move here too. A little bit. Talus comes to this direction. Let him increase a little bit more here. Yeah. So let me see here. Yeah. We can play a lot. So how you can see I'm just marking the landmarks without add a lot of elements, checking the struct, overall structure shapes, That's okay. I don't know. I think we could put more in front, maybe. Let me turn off this guy and said something like that. No. Let me check. Yeah, maybe something like that. L et me see press P to active perspective and rotate a little bit more. Let me see this part. And something like that, can be. This part here it's a little strange. I think this guy I need move up a little bit more, something like that, and try to fix it. Of course, then we're going to increase again, but have a better adaptation here. The first blockage. Let me try to organize a little bit to this part. Et's see. Yeah. I think we can increase this landmark, the silt here. I'm not too happy with that. Yet. So we need to see how we're going to how we're going to fix that. I don't know. Maybe I'll structure here. Think move up. This part will be good. So let me cut here and here and here. That's okay. I this structure let me see. Decide it more net, more T poles. Yeah, it can be. Let me select the teeth. Of course, now we need to start organizing this part and blocking to fix this structure, but we're going to have some things here, so we works well. Here I just mark three parts to the rib cage. It's the oblique the abdomen here, and here we have stratus, but I have just move a little bit more. Let me save that. 20 That's okay. This transition could be better, but I will not spend time doing it now because we can well, I have moved a something here. At the hand. Yeah. When I have the move, have a move a in front. So probably here. Let me ate the arm and change it. Probably here. I don't know this depose I'm not happy with that. The legs yet. I'm not too happy with that. Destructor maybe something more aggressive. Let me move up a little bit. And this part of yeah. Ale better. The balance, it's better. So always take care about that. And it's going well. Let me do out this guy and lower the previews that I have saved. And let me save the other, for example, this guy and look the difference. So part by part, step by step, we can fill the overall structure. So for me, this is extremly important. Maybe, for example, we could make something more aggressive on this region, but we need to rework on the arms if we want to make something better. Maybe the arms too, we call it increase, but we can make it then when we finish the game mesh. Be how I say you, I think on the htpology. For example, the arms called be more aggressive. Yeah, inflate brush, but how you can see when I use the inflate, this match will be very very together. So it's not good because when I'm going to make the retpolgy, how are I going to do that? So I prefer make on this way, and then I can inflate it when I finish the low poly. So well, let me see. Yeah. Is it? And is it, guys, in the next video, we're going to continue to refine to have a better blockage of the legs and add some elements and continue to check the overall idea until we get the correctly shaped structure and finish the overall structure to make the first ret topology and make the final details about the de powers wrinkles, and all these stuff. So see in the next video, guys. 18. Continuing The Legs: And continue here guys. So let's to fix the sport. I think it's too agurated, and we can organize better so we can simplify it. So like this one, for example, sorry guys. I think it's too inflated, and how we are using the yg resolution to dynamis. It's a little more difficult to change, but it's possible. So let me try to use the negative inflate. So let me see here, hold out and try to make it. Let me see. It's a little strange, but no problem. I think it's better, so now we need to solve that. Of course, we can use the dynam again, for example, ply dynam again. Let me see. Yeah. No problem. Let me make a more clean mesh here. Let me crease this part here's move. Let me check here. Let me see. A little bit more to the gluteus this part here, same thing. Let me see this guy here. I want to something more optimize. So all this part here is strange, no problem. Let me move it, and we need to reconstruct that. So Let me check. It's a test, of co. This guy here. We need to move again. Let me check this part. Can try to make a unique volume here to break a little bit divisual. This part here same thing. Let me check and use the add volume here to create the knee. Just to represent that and make more optimized. This part here more together. Let me see this go here. Yeah. We have the hecto femoris here. Let me try to fix it and make more simplify it. Yeah. It's just because the dyna mesh. So it's very messed, the mesh, and all these things. Now I need to fix it. So it's a little more hard, but it's not impossible. Let me use the high polish. L et me add volume here too. That's okay. More volume here too. Let me see and I'm organizing. Let me remove atle bit sport. Use the high polish here to try to fix that. Here have the landmark of the pelvic bone. But I'm just marking it's not necessary to be perfectly because this part will be hidden. So that's okay. And this part it's connected here. So that's. That's cool. Let me bring in front a little bit. Yeah, that's okay. Now we're going to try to fix this part yet. I can of course try to mark it. For example here, we have the femoris. And we can try to mark it. And here we have the serratus. Sartorius, sorry. Not eratus. And here the other sco D vastus medialis. We're going to just bring the volumes to try to simplify that and have a better shape. Let me mark here ale bit too. This volume. Here I have volume two. So let me try to fix these guys. Here I have this draw and comes to this direction. Til here. Let me see. A little bit more optimize here of this part or optimize. So I want to optimize this region here. L et me check. And here. I can try to create this shape. It's kind of something like that. And I can use the hyplysy here. So let me check can move. This part here it's together, so maybe I can I don't know. I could make different. I don't want show out these muscles here. I want something clean. Let me try to add this volume to a little bit. Yeah. It's better. Same with this guy here. Let me check this part. Remove a little bit. It's in front, I think, red a bit. It's stray, but we going to fix it, we have seems shape here. It's o a triangle. So let me check. Yeah. Yes, I am not happy with that yet, but that's it's a little better. Let me see about this curve. L et me check. No. I think this part, it's more fin. Y This guy here. Let me reduce a little bit. This angle. Reduce a little bit too, and Here how you can see this part, it's more or less here up. Me test And Let me optimize all this region here. Let me try to merge this part here and make a better knee. Make more sense. Let me check it. Yes, it's a little bit better. Let me reduce this volume a little bit. And use the hyp polysy here. Yeah. Let me check can be. O this part more upped. Let me try to connect that. This region here. Let me move a little bit. Yeah. Mark again. And and use the hy polish here to polish a little bit. Then we need to revers that Yeah. So it's better. This transition here for me is not good. A this transition here, let me move because I don't want that appears a lot of the disconnections. I want something move here t to like that. Yeah. And let me create this big volume here to hidden the other parts. Yeah, it's better because I wanted something more natural. Let me check this part. Let me see here. Let's move a little bit here too, this transition. It's better. Let me check here. Make this landmark. L et me move a little bit here, yeah, it's better. Let me see the reference. The need it's always very complicated, but that's okay. Let me check this part here too, how you can see we have this connection. Usually. Let me here and comes to this direction. So that's good. It's better than before. Let me try to organize this little part here. Yeah. I don't know about this part. Maybe I can merge a little bit more and try to break a little bit to this part. Let me just check. Yeah, move mark Let me see. I don't know yet. Let me see the reference. I want to something more on this aspect. I think that this part it's okay, but it's still small, I don't know yet. Let me check here. Let me see here on this part. So this other part here we need to fix too. So let me check this region, the TBO process, and all this connection here to So how I have that high resolution, so it's a little more difficult to make the things well. And I don't want reduce that because we'll be more hard to add the details again. I'm trying to fix it. Let me see here it's Fgle two, and here I have more volume. Let me check. Yeah, it's a little messed. But it's kind of something like that, press Control Z. Yeah. So let me check here. More or less here, Let me move it to have this part. I'm going to try to reproduce this this shape. Maybe something more like that. Let me check. This line comes out from this direction. So I'm using the high polish. I am trying to create this structure. So that's ok. Here you usually have this cut. L eth use the hy polish again. Here we can add mass to keep more market, without a lot of details. Here, for example, we can try to add these big volumes. It's more interesting. So let me try to fit better this part here. Basically, you're going to refine the things. How I am working with a i resolution, it's a little more difficult, but it's pole's possible. This structure of the knee, it's a little strange yet. This point until here it's different. I can try to fix it a little bit. Let me see, something like that. Let me check. And something like this way. Yeah, the here it's a little strange. But let me make a hy polish on this part and here too and here this connection to And this region here too. Let me see. Let me check. Let me use the standard or hypolsh can be. Yeah, I can be here, y polish. This part can be with hy polish too. Yeah. Let me check. Yes, it's better, not perfectly, but it's working well. Let me try to mark some parts here. Here these elements. Let me here, this part. Let me see here. And et mark a little bit these parts here. It's better. This part here to make two sense. I can try to use the hypolsy here too, to heat them a little bit. Yes, it's better. And I can smoke it a little bit. Let me see here. Yes. Just a little volume here. And a little landmark here too. L et me check. Yeah, the correct way we have the ten surfacta here, and we have the he femoris here, so connecting. So the right way would be this connection. Let me try to rotate this part to here if it's possible. So let me see, something like that. Now it's better. Let me see. That's okay. F here to Let me see. Yes, it's better moognize that and we need fixed back part here too. Let me see this part. Let me just fill this region here to make more sense. And try to connect it and try to optimize a lot. Sometimes we have the gastrocnems here, but sometimes it's better to make a more clean. The same thing to this part, it's from this region here. Let me see here. It's a little strange this part. I need something more in front, maybe. I don't know. Or more this region maybe. Let me check here. Let me use the high polish a little bit here to this part. I'm not so happy with this silhouette of this site. Let me check here. Yeah. It's better. So select more volume here. And increase a little bit to these parts. Let me check this region here. All these muscles together. That's okay. Then we need to fix it again. And here the same thing. This transition. Here we can make the same thing. It's not necessary to divide at this part. Let me see here. Yeah. It's better. It's better. We need to fix this region here to check. But I feel better on this part here. Let me see. We have the solu part here, of course, but it's not something to aggressive. Here we have the bone and muscle region too. It's n. Same thing here. L et me check here. Let me see this sky, D Tibia. Come to this direction here. Let me check. Have you the standard brush. So I have mar this the dot Landmark dots here. So let me see here. Let me. Make some cuts here. Just to mark ale bit more. Yes. It's better. D L et me see. Let me move. High polish. And in the next video, we're going to continue then we can add volumes here when we have on the detailing part. For example, we can make these things. Seems that here we have more More element, more volume until here, for example. In this part. It's better. Let me see. Let me check here. This line, the lines. Let me see this guy because he's with the legs up net. So let me check this part seems that mark your here. Yeah. It's better. Yeah, that's okay. In the next video, we're going to continue, guys, so soon in the next video. 19. Clothes Ideas: And while, guys, continuing here, I did some changes here in the character. So how you can see, have the different abdomen shape here, so I'd try to play a little bit, and you can make it. You can explore a lot of different designs. We have this one. It's not wrong. But I'd try to bring and make something more It's not natural, but something more more I can say it's MFD, maybe. I don't know if it's Mfad, It's correctly way, but it is Muft. So let me move a little bit this part. Yeah, can be. And I also add that the feet of this guy, it's the base mesh. Of course, just a base mesh. So how can you how can you see here? It's just a base mash and I pose that here, the same with the hand, for example. Then we need Make better. The legs. I have changed it a little bit, Mark the hectus fermois, vastus medialis, vastus, loters. I'm not so happy with this shape here. I'm not happy with that, but now we're going to add the clothes and see how it works. So let me see, maybe it's to. We have this shape. But maybe it's good, it's more robust, but I don't know this part here. Maybe let me in the lower arm. Turn off dynamic and try to let me in this one or not just let me just make a mask here. Smooth a little bit this mask and try to make something like that. I think it's better. Let me check let me see. I'm not so happy with this. This is true to Let me check. I think I'm going to change it. Let me try to reduce that. Yeah, better. Let me see this guy here. More here and here too. Let me check. Yeah, I can be et me reduce this part of the leg. Let me see here. Yeah. Can be. I think that's okay. Let me see here. Yeah, I can be on this way. I can activate the wax per review rendering. And here in the material, the met cap, I can increase the strength of the wax modifier. Just to check the how it's going. Let me change this position here. Maybe I would like to add. Let me see. L et me check here. Can you use the standard and hold out and make something more like that. Yeah, I think it's better. Here I can move this part. Yeah. Let me use the hy policy here. Try to organize it. Yeah. And now I need move this transition because it's to market. I just want something more a better transition here. Yes better. No, I'm not happy yet. Let me just try to make a better transition here. It's to market, and I don't want it. We Let me see. Yeah. I think can be. Let me check. Yes. Yeah, can be. That's cool. I like it. Maybe here the lag. I don't know yet, guys a little. No, that's okay. That's okay. We'll be enough. So now let's try to add a little of clothes. And I'm going to try to adopt it, make something similar with that, or I can change. I like that of this one. This guy here. L et me see these other two. But this one seems a little strange. Let me a pend Well, what I can use. Let me start with a ring. No. Let me select a ring first, so first, let me save. Let me select here a ring. Let me delete the old version. Yeah. L et me select a ring. And here, I can change the initial in the initialized options. I can change the things but, I think it's not necessarily changing nothing. Let me just append the ring, and I'm going to try to make this belt or the belt or simulate the rope. It's just to block it. I want to check the proportion, the structure and all this stuff. So I can scale that and use the inflate. The formation or use the contrast can be to inflate. Let me check. It can be something like that. Too much. Yeah, just to pose it. T symmetry and try to set it Let me see. Yeah. Yeah. Let me append the sphere, and I go to try to make the cloth shape. Let me to and how you can see, I am not using the the planes or something like that. I'm just using the sphere and well, that's okay. Then I can use the zero mesh. I like to work on this way because I always try to make something that to have a gin, it's a gid line. I like to call it as a gid line because for me, it's better to understand and see the shapes. Something like that. Let me see here. L et me remove a little bit this part. And probably I have something like that. So now, Let me see this part here. I'm trying to figure out the side the overall structure. First, M Let me see. And I have a lot of cloths on cloths. So let me see here. That's okay. Let me use Let me turn off the perspective. Let me select this part and press Control W. Or can be here. Control W, invert D hidden. Display properties double. Use the mood to remove this part. This, some loops here. Let me use the modular again. Ll, this part that makes sense, well. I don't know. I like the idea of something only on this way. I don't know. Let me just explore it. Something like that. In my opinion, it's better will be better than something like this one, well. Something like this part here. In my opinion, it's better. The cool part is it, we can explore and play with that. This is the co part. Let me turn of dynamic. I can work with this way. No problem. Let me bring in front a little bit to this part. Same with this other region back part. Oh, I don't know, maybe I can scale it. Yeah. Let me use the to group to separate it. That's okay. Yes. Let me see here. I'm just exploring. Remember that. Let me use the las here. No. I like this one. Let me return here to this one. And I can try to create or shapes. So basically here. I don't know. I have a lot of shapes. Let me try to duplicate that. Try to remove this guy and scale. Yeah. I can excale it. Let me sit here, make a mask. H and set here. Invert scale a little bit. Let me see this part scale two can be more or less until here. And we need continued blocking. We need continued blocking it. It's very normal in the first part have some problems with the structure and out things. I recommend you really recommend you make homely and continue blocking the things. So I don't know this part here. Well, let him activate this part and use the deformation inflate, reduce a little bit more, yes. Try to set it more or less here and here. So let me move this guy. And rotate here. More or less here. It's just the blockage. Remember that. And here seems that we have the mirror coming here. Yeah. But it's just an analogy to set as a reference, so we need to take care of that. We have elements in the arms. But I think the arms is not necessary. I just may be going to make I don't know yet. Let me see maybe to defeat. I don't know. I'm not too happy of this element here, but. Let me test. Let me just add here some finger into here. And to the arm to let me select here. Something until here. And here. Yeah. Let me use the whole contrasect masculs turn off and try to bring this sport here. I don't know if I make some prop or a tattoo, maybe. So tattoo here too. I think we'll be better, something like that. I will be more cool. Yeah. First, let them extract it. Let me see here. Yeah, can be accepted just to mark And let me late. It let me see. Let me use the dynamsh map and inflate negative. Let me check. Yeah, I can be D hidden. Now I can use the inflating negative. Zero remeasure. Turn off the adaptive and reduce target polygons can set off. Active symmetry, and I can remove these guys here. Let's play properties, act du two. Let me check. Yeah, it can be. Did the same thing here. To mark the things. Let me see here. Yeah, it can be D hidden. Oh. This port here to deal he then and try to organize the things. Let me see. Yeah, it's more length or less until here. Let me try to remove this lip. Let me see here. Try to move a little bit. Yeah. It can be for now. Remember, it's just the blockage. It's a little def front. Let me move here. Try to make deep here. Yeah. The same with this one. T L et me select this part and try to move here. No, will not work. Let me try to make different, let me select the feet. Make a mask, extract Sept select this guy only hidden zero measure. Zero measure again, reduced target polygons. Yeah, and I can inflate use the inflate and the formation inflate negative. Activity double here too. Splay properties double. Yeah. Let return to defeat and subdivisions. And try to organize it. Yeah, I can be just the landmark. This part, I'm not happy with that, but of course, we have a lot of its kind of ropes, something like that. Yeah, I'm going to keep on this way. Just to check it. If it works or not, part at restrained yet, but that's okay. I don't know if I'm going to add something to the arms yet. But, let me duplicate this guy here. L et me test, try to duplicate that and move up a little bit and try to set on this way. To align with the cloth here. I see. I don't know, it's a one design. We can make a lot of others. Let me duplicate that again. More or less here. I'm not happy with that and I don't know if I'm going to use it. Maybe I prefer a tattoo or something like that. I don't know yet. Yeah. But it's going well. But I think that not make it going to add some draw here, I don't know yet. Something like that. Let me check. To play a little bit. Of course, these parts, we can work on these into the substance painter, don't worry about that. Let me check here. I can be. Let me invert. Can be white. Not well well. I miss at the color, probably, yeah. So let me return here. Yeah. Thank you. Et me see. Yeah. Let me vert. For object. Let me vert. F object. Oh, no, et press cont. Clean this mask here. Object. Yeah, we are using basic material. Let me go to skin. Shading. Yeah. Something like that. Yeah, the next video, we're going to continue and we can cross the things, guys. So see you in the next video. Here we are starting adding the elements, testing the elements too. Let me test other metas. Let me see this here. I don't know. Maybe. This color skin shading. Maybe let me keep with the skin shading. And Let me see here, Mr gray. And let me reduce the wax preview here. Maybe it's too intense. Let me go to rendering. Yeah. Well, that's okay. L et me change the light color set up a little bit of the shadows. Yeah. It's going well. Maybe more dark color, maybe. I don't know yet. Few obj. No. Let me see. Yeah, something like that. Yes. Yeah, it can be. Well, the next video, go to continue, guys. So seeing the next video. 20. Refining The Head: And we, guys, we're going to continue here on the project. This we're going to start refining the head, increasing the hear, the eyeles the nose, the month. It's not difficult, but it's necessary, so it's liked that they're going to refine it now, and then we're going to move on to make the wrinkles, the tails of the body, and then sk the hand and in the feet. So now we're going to start refining here the the year. I'm going to try to find the contrast the elements, change the position, structure. So basically now it's time to make this change. It's strongly important. You spend time doing it. The previous videos, we did the blockage of the parts, so it's more fast, and now we're going to spend more time on specific shapes. So it's a little bit a more slow process, of course. So let me move a little bit the sports, and I changed my UY interface too if you want. Just let me know, I can send you, but usually I change all the time, so this is not so important. Well, I'm fine the side it and change the volumes and the structure overall structure, of course. The, it's the same structure. All years have the same structure, and it's very normal. So the difference, it's about the size and the proportions, if we're going to make it diagonal or not, if the y letter re appears more or not, we have the hook fish, and here we're going to bring more volume. So make it very slow and a lot of tests. Of course, for me, it's not difficult to make years is month knows well. Basically, it's not difficult anything for me. But if it's not a bit we forced years, probably It will take more times. It will take more time. For example, if you scoped anatomy every days, and other people scoped it one or two times in the year. It's very different despite that each people will skip to the parts. So don't try to miss your your experience with my with my experience. So I recommend you make in your time. So make it very calmly and remember, the fox here, it's for a game, so it's not anatomy. So because that we not spend a long time talking part by part you can check the anatomy course. I recommend you. But here it's most important the workflow. So if it desire move on to the next videos or next page, you can go on or use a red base mash to the year, no problem. The fox here, it's the game character workflow. So here you're going to bring more volume on this part two active bake phase mask. And bring more volume and this part. I want to bring the contrast when I say contrast. It's more to define the regions with cavities and volumes. Here, this part this connection of the hear. We need a a better transition. I like to fill these regions and then I'm going to break the elements. And, I recommend you work with song or music or watching something. Of course, I can't do that because I am recording, so it's a little different. So it's a little different when you need to recording the things. So let me bring volume here. Seems have some So cell phone, mobile. That's okay. Let me bring more this part here to this connection, and here we can explore and play a little bit. I'm working very calmly here because it's necessary to enjoy this process. Here we're going to cut and separate a little bit the parts. And let me see here, you can use this lash, where I use lash. You can use them standard too, no matter. But it's depend of the workflow. Sometimes I like to explore and play a little bit with different workflows. So I'm going to use this lash with radius activa to bring some cavities and separate a bit some parts and make this sms ale bit more large wrinkles. L et me see. I like to hold out to create the landmarks, this crease part. It's good to see the block. It's block box regions. It's something like that. These wall regions, it's very cop give more polished region. It's very satisfactory. Yeah, it's going well. So it's better. Let me move here. Let me pull it a little bit too, move it down a little bit. How you can see it a little more different this part. And well, I say you, it's a slow process. Slowly process, but it's stermally important. So I recommend, really, really recommend you do that, when we have more time to do that. Don't try to make it fast. When I say fast, it's, I'm not so happy to up to day, so I'm going to try to define this part of the year of fast to finish it and move on to the next step. I really not recommend you do that. Try to make it very calmly because head elements, the head it's strely important. You need to make each part are very definite and try to find a good shape and visual. This top part usually of the head, the dear. It's mar finite. We have the y ladder here, and we have more noise, and the top part, it's more flat. So usually I like to separate this region and bring more contrast. When I say separate, it's like try to find the cavities and make mar visions, use a dam standard or other brush. So for me, it's kd shape. Let me see here, the io part. Now I'm going to try to block this part here. And basically what I need to do here. It's bring the contrast, to define a little bit to the silo it. Maybe the eyeball, it's a little big I need to reduce and try to create at a better contrast. So a good strategy here, it's not keep the eyelid too close with the eyeball. Seems that it's close, but It's closed, it's near, but it's not too near. And now I want to try to find the better eyelid, more defined and a little bit out and reduce the eyeball here. And I can scale it a little bit, find the pivot. And I can delete this one and keep one side only to fox one side, and then I can use the mirror. Let me scale a little bit here to give more evidence to the, the eyelid, and this part of the ODs expression. Let move up a bit, move on front a little bit. Now let me see this side. Now I'm going to return to the eyelids here. Let me see. Now I can move the eyelids on around the sphere here. It's a guideline, so now I can change the silt and the volumes in proportion here. Just move front a bit. L et me see. D where are you here? It's D lash again. I'm looking for here, and now I can try to define and create more riser parts. Cause it's better. And this transition between the eyelid and the superior part of the procerus and this scales, and here, of course, it's a little more about fat pad, kind of fat pad. Let me define a little bit side it, here, move. So here, how I say to you guys, It's time to spend a long time. Of course, we have a reference and out these things, but how we are we are doing a generic head, so it's it's not like a lightness. It's a little more not difficult, but you spend more time defined part by part. Here we're going to create the rings to the aile the ferior eyelid, define here, this part, and now I can create this other wrinkle, big, large wrinkle. Usually these landmarks are more to define the age of the character. For example, when we have We have young characters. These divisions are more smooth had. And if you have an old guy, basically we have a more landmark. A lot of more landmarks and wrinkles. That's okay. I think I can move back this part here, this here two. I am looking to the eye lid top eyelid two in front. I think I could reduce it then. Let me bring more volume on this part of this region of the yo. And here too. So yeah, can do that and merge this part to create a more different sign. Yeah. Move the aros a little bit. I think that's okay. India. It's not Indian. Yeah, I think it's India Brazil. We call it more like India. So yeah, so how you can see the eyelid here, it's yet. It's better. We can see more it. So it's more clear and clear. I can move back a little bit sport. Here to align this sign. A little bit. Yeah. How you can see have these planes of value more definite. Of course, it's a low resolution, but how we work with all the elements of the body together. So it's important to take care with the resolution of the dynamic. Take care basically to not increase to the resolution. Keep a low number. Here we're going to add volumes and then I can use the polish to keep it flat to and create this aspect, mores, use the mirror to this b here. Yeah. I think this top part of cold bring a little bit more in front. Sometimes bring or make more exaggerated, it's not add volumes, but reduce. Now here, I can create a poly group to this part. And what are going to do basically, move it. So let me see here, make back. Let me make a mass, control, rotate control, and now I can sve a little bit the mask and move back a little bit yeah to create these divisions with the zygomatic and the connections between the top part and back part, top part and bottom part of the eyelid and move bring a little bit more of this region. Put a little bit more on this part here too. And bring of course, the eyebrows. Let me see. Then I co refine it. Here is more like a American. I need move back the eyebrows suit because I have moved at the Eye lids. Of course. So basically, here's necessary work on the size. It's just move. And I go going to refine a little bit this region. Just use Bing. It's more like close the eyes a little bit. It's a good technique and bring this region of zygomatic and Zygomatic region here. Try to define a little bit more. Let me see, and I quoted some no ones here. Let me remove this part here a clay and remove a little bit. This little bump. Yeah, great transition, but how you can see, it's not something very very large chains because the initial structure was very good. So now basically what I'm doing adding some nos, litle volumes to break the smooth head and flat parts and creating this structure of the head. But the overall structure work very well. So yeah, the structure, good. Let me bring the eyebrows again. Let me see this part of the nose, I can work and define a little bit this region and break the bone region here, just hold out. Volume on this part here to give this structure and create the flat parts of the nose and the structure here. The volume here too. Here here. And the region. I can create more flat, make more flat this port. So when I have problem to identify the regions, you can make planes for it. It's a good strategy to work because we can understand better, and then we can break these planes again. So this is the secret. It's the same idea when you are drawing. The intern part, I can bring more the BN stud now and pull this region and make more cavity and make some transitions. Of course, it's depend when you are working with stylized at correctors, it's different. This part usually don't do. But how we are doing. It's a little mixed with stylized, but it's more realistic than stylized. So we need to create this nons and now the structures here. So let me see this part here, hold out and move a little bit into the nose and create these transitions here. How you can say I'm working with a low low resolution, but it's okay for me, it's possible to make this transition the good part when you are working with when you are working with Let me see here. This part. When you are working with a low resolution, the good parts that you need fox more on the small volumes and the side of it. So then when we're going to refine it, we'll be very easy. Basically, use some Alphas as it. So yeah, the overall structure is going well. I am happy with that. This part here you can add more volume. Yeah, good. That's cool. Here, I can create some small small volumes, nos the master reia. And it can divide a little bit this part here. I think I could divide a little bit bet this transition. Hold out and bring this line and the landmarks here. The nose I going to keep more random and here more flat. Yeah. Smooth a little bit and create this transition here to the lips. So, I like to make these things slow movements. Let me bring this part here, change a little bit the shapes of this port. Yeah, this transition it's better. So move back a little bit. These elements and mark this part of the wings of the nose. Let's go. Yeah, let me see. Yes, move a little bit, that's okay. Now I can cut. When I say cut, it's created cavities and transition here between the ios. This landmarks here. To give more i spect and more masculine, more Mo biotype here two. This strong phase. Yeah, here. That's good. Here to mark a little bit more to create this cavity to bring the contrasts very calmly redo, redo and do and redo, redo and do. It's the normal process here. So you can active las moles and make all the s movements. So yeah, I have a better adaptation, and I'm really iant. So here we have the Det part two. So how I say do, I like to create this effect. It's this que part together with the polish elements and then I deform it and break it. Here, let me create these part of the chin, valio fat regions, here, this guy. Yeah, that's cool. This c of the orbicular of the mouth. It's going very well, so it's very very cool. So let me move up a little bit the month and open it a little bit more. Because remember, we are doing this character for a game. So we need to make the topology, we need to make the bake, UV, the topology, U V, the bakes. And if we have all this vision of the month together to to near which other part, we will be very hard to make the topology and make the bake. So I prefer make this the standard, it's kind of standard pose. And then when I have the low poly, I make the correct pose, close the mouth and all these things. Let me move up a little bit this region of the inferior leap. And here the same thing the corners. Let me separate a little bit. These little volumes here. Smooth calmly. Move up a little bit again. Here again. Yeah, I think that I need volume here and define the border of this lips. So let me use this lash and bring this part here to try to find this This is structure. And now we're going to bring more volume here too. So it's a good landmark that will help us during while you're going to make the topology. Yeah, let me mark here a little bit the not part and create contrast with the low volumes, no ones. Let me mark a little bit here to the cavity. Low movement and bring more volume on this part here. The latter. Remember that, and mark a little bit more here too. Yeah. Slow slow and small movement. Let create this part here of the nose two flow. Follow the flow. Mark here a little bit more. Yeah, good, will be very helpful to the topology to. Here we're going to make the planes of the nose a little bit more and move very calmly. Yeah. So yes, of course, remember, guys, each workflow, it's different when I am working with stylized I like to use different workflows and realist we work more calmly in small movements. Let me bring this structure a little bit, this little volume. And also, let me add more volume with the clay. Of course, I need the position of the eyebrows, but let me bring this A strong volume here. It's a T pose a pose, under pose, but we can bring more aggressive structure, and now let me move the eyebrows here. Ed, here, the inferior eyelid. But remember that I need move the eyebrows then. So let me bring the ed inferior eyed more intense. So tense not it's more inflated and more large And let me mark a little bit the lips. Here Differ your lips. Let me make more mark it. Yeah. This region here divide a little bit more and move a little bit too. Yeah, it's going well. Remember, try to keep this part more open as. We need to make the red pose. It's not only scope, for to print, it's different, it's for a game. We need to make separated and here I can divide a little bit too. Spring, these parts of the month, more interesting. But it's to I'm not so happy with the month yet. Let me try to inflate a little bit create the different planes here because it's too flat. Flat worked very well to stylize it, but here, I'm not so happy yet. I need to make some movement and try to find a better structure. Maybe the superior leap. I need more volume here, more aggressive because it's kind of fish month and I don't want it. Let me and define a little bit on this part. Yeah, but maybe I can increase it then, but it's going well. Let me define the chin part here too, the rendo planes, It's not the rend, the common planes here. And let me move a bit and create the Muscos. And the parts of the month. And to be a little more aggressive to create the wrinkles here. And let me see. I can increase a little bit this part. I make it more aggressive, but no problem. Then we're going to miss ale bit the volumes when we add the wrinkles bars and all these things because it's important we who would be aggressive. The zygomatic information, That's cool. Let me move. This part, move back a little bit of the zygomatic region. The move, I don't know, it's a little small yet, but then I'm going to fix it. Let me see the zygomatic here, try to see different structure. More digo now, and I can move a little bit. Yeah, it's a little better. Let me use this les to mark and create the cavities of the temporal region. And to be aggressive at b. And how I say to you, don't worry about the strong landmarks because then you're going to lost a lot of this volume. Sometimes it's important to add more elements because you're going to lost it. Let me see this landmark here a bit gr, it's a pose neutro pose, but he is angry. It's kind of I don't know. It's because. You need to eat a little bit more food. It's kind. I am hungry and I need it. Naruto. I remember I talk about Anar because Naruto and Goku usually eat all the time. Yeah. Good times b, dragon Bos and Nar. I like it. Of course, One P and unter plus Hunter or Hunter times hunter. I I don't know in English term. But so cool for metal alchemists. Awesome. I like it too much. It increase a little bit of sport. And yeah, is it? Is it for now guys? Let me just organize a little bit disposition here. This part here Let me change a little bit deposition and rotate a little bit. M dig now move back. A little bit, rotate. Yeah. Yeah, it's better. I think that's good. And move this part here to create these volumes and this structure. Yeah. Thoracic thorax box, superior part of the cranium. It's better. Let me move this region. Here to more in front. Now this part of the master better. Here to bring more volume, slate at bit. It's important to create this no ones. So exaggerate ale bit the master part out and create this strong master and move this region a little bit. Year. Yeah. It's better. I don't know. Yeah, now, I don't know. I'm doing a little more. It's kind of not to It's not spherical. It's more like more The master it's very we have a good muscle strong, but we don't have a lot of volume. It's more like define it. Let me define a bit. The superior here. This part They're fine here. Okay. And here to this part. Created these wrinkles and mark a little bit more. To give him this how I say this serious face. It's kind of Don't make a joke with me, man. If you make it, probably, I go to kill you. It's something like that. This transition here. Take care about this part, not make it too exaggerated because it's not action figure. It's game, so take care and let him move the yo brows here too. Yeah. Is it guys NCU in the next video? 21. Starting The Skin Details: Well, guys, we're going to start making the details, then we're going to scope the hands and the feet. So this first continue here. The first part, Yeah, I can create the first part. We're going to work with layers. And the first moment, we're going to create the noice part. Rando basically. I going to work with the three to four divisions 84 millions, but I'm going to reduce to 2021 millions, and I think that's okay. I'm going to work with layers. The first one, I'm going to set it base base one, and I'm going to start making these random details. You can use the standard brush if you want with Randall Alpha. They're very simple. You code use the surface automatically noise from surface menu, but I like to work handly here in the first moment. I like to make this noise effect for d model. Ospars the year two just a little bit to break this smooth shape, this flat shape. So I'm going to keep I will not pass on the lips and the eyelids, but the rest of the body are going to make it, for example, the daltye, the tropasu, O body. So we're going to make it very comely. Then, of course, we're going to scope defining the hands and the feet because they are separated, it's better to work. Here the biceps, triceps, all the part, very simple. This is the first stage, first layer, the base. I like to make this movement very simple. It's very It's very very rando. So from this point, you're going to refine and refine and refine. I recommend you spend a long time doing it and make it comely. The secret to get a good visual to the wrinkles and the ports, it make it very very comely. This is the scron then. Enjoy the process. Of course. O part of the head, it's necessary to do because this will appears on the game because the hair will not feel out the head. So it's important to make all the details for the fully body. The glutes, the legs and outs. This first part, basically, we spend time making it calmly and keeping the same draw size. So try to keep the same structure, not make different sizes now. So it's a little more slow. Of course, if you use the surface, you can get this visual automatically. But because the pricer, because the not exactly same positions when you are doing it handly, we're going to get a better result making it calmly and handly, of course, it's different when you are doing automatically. Basically, you don't have a to how can I say you don't have took a lot of control when you have some automatically think. Of course, No problem, if you want to make it. Other way would make using from the X Y Z maps, but the question is that you need on UV map, pena. So how we created this character front I sphere. Basically you're going to make on this way. And it's very cop because if you make on this way, you can learn a lot and you can apply it on the other characters using this technique or using the x y z map, so it's very, very easy. So I'm going to make this rando noise. Now I'm going to create a new layer. I'm going to work with bumps, color spray, and brush Alpha. Is to make some specific parts. Of course, I'm using these alphas, and if you want, you can use other Alphas. Usually, we're going to work with the Z brush per set. Here, basically what I'm doing it is create a variation of noise. Basically because I want to force a little bit and create a lot of variation. So how you can say I'm not applying it like the last one layer. I'm trying to create it on a specific regions random, but a specific region on the bump part usually and not making the same place, for example. I am I am making more strong a little bit to have a better contrast. But I'm doing on specific parts usually on the Muscles position in that I use on the bones positions, for example. This is a slow process, but you're going to see then when we finish it, that we're going to have a result. Of course, to finish on the model, we need to make scope to the letter, and is it because the hair we're going to make in the part two of the cures. We're going to make the T and probably the hair s two. Let me see here the abdomen a little bit to It's easy process, but you need make it very comely and have pi chains to do that. Very comely. We quote to increase the shapes of the Musco, make different, if you want. But it's okay. I really enjoy it. This This structure, and it's for a game. So remember that to. It's not for a print table. It's okay enough. And now let me use the bump spray. It's game that the standard brush. You can use standard brush. I'm going to create other layer here. And this bump, I'm using the Alpha, but it's to create other variation of noise. It's kind a little more strong, but in that I have dots. It's kind of dot. I have different shapes, but it's very simple too. It's more to play a little bit and give a a different aspect a little bit. It's not something strummi strummi that will change the visual of the wrinkles and the purse. It's more to give different aspects. It's the same situation when you are skipped in the head. You're going to create the base shapes, then you're going to create other volumes, and then you're going to create small volumes to create and change the structure of the face, for example. So you can test here, use the frame to see the noise, the cavities. It's good. And let me see here, Mato. No, the lights to tense. No, it's not good to work with that yet. Let me see here. Mato 01. No. I think I'm going to return to Let me see two. The fess the reflection is too intense. I think I'm going to return to the setting. Let me see here, Mato first, two. Thel ight is too strong. It's not good to scope it. No, I no. Not. Let me see here. Let me add a little bit here, but I think that I'm going to return to the setting, where are you? Let me see still base base kits. It's cool, but if we change here a little bit of color. But yeah, for now is not good yet. Let me work with setting. Yeah. For now, it's the better setting Mica setting for now, it's the better. So, let's go let's continue, guys. The next video, we're going to continue. 22. Continuing Detailing the Skin: And while you guys continue here, let me select the Alpha 60 with the spray. And here we're going to create a new layer. Let me see, yeah, but I need to create a new layer. Let me see here. And this layer, I go to cow at I'm going to call source G direction. Sorry, distortion direction. Well I going to work on the let me reduce the intensity here a little bit. And I'm going to work on the x x direction. So the fully model I'm going to make on this direction or this on to direction. So yeah, let's go. And basically, this will bring a beautiful beautiful aspect to the skin, so it's so on someone. This is the process. I'm going to repeat it. It's not totally directional. For example, total direction, totally horizontal. But we're going to mix with horizontal and sometimes following the flow of them, the direction of the Muscle. But usually the most important is tried fox to the horizontal direction. So how you can see you're going to get a good aspect. Usually, this technique I used to create creators to make the wrinkles in the parse the skin of creators, but difference, it's about the intensity and the proportion and the size. Here I'm forcing a little bit. I'm putting making more strong because remember when we're going to work with when we're going to work with with games and we're going to make the bakes. We're going to lost a lot of information. Baked details welds appears a lot. Because that, I I like to to create more strong a bit, because I know that I going to lost a little bit of the information. So I'm sorry guys because sometimes when I'm doing something that I need to fox a little bit more, it's a little difficult can make it in the same time. But it's okay. So I'm going to repeat all this process, fully processed for the complete character. Just the eye regions, eye lips, I'm going to try to avoid that a lot of this information yet, then we're going to make it handly and lips too. So we're going to keep more clean. Continuing here, I'm going to make all this part of the phase. A this region here and I'm going to continue made part by part. The complete process. So how you can see we have more with this in this part, we have a little bit more contrast, more defined, it's more. How can I say it's not Yeah, it's kind of a sharpen filter. And this effect, it's possible to create you in the sub substance designer to, in substance painter to. But for this character, we're going to make handle here. To learn how to create the correctly effect of the skin purse. It's effect, but we have a lot of other techniques, but this is the most important because this is the first one. If you learn how to do using this technique basically then to create it with other techniques. It's very, very easy. So here we're going to make this part, D glutse, of course, if the gluts appears, you can increase a lot, but here how it will be covered by the clothes, the latter. It's not tunsar, but just to have the complete body organize it. I'm I'm doing it. Here the knee. This part very commonly. The secret, it's make it out fully part very, very commonly. So basically, it's anatomy and skin detail. This is the secret. The difference a lot about the people that like to scope anatomy, it's that they don't like to make this part. Be take a long time and then make comely a lot of stage, how you can see them using layers because it's better to control the intensity and you can see you. But usually take a long time. Let me see here. Let me check this lash. Let me see here. Yeah. And now I can work on the yo part. Basically the hand. Let me rename it to hand. The wrinkles, basically will be wrinkles, but I'm going to make it not, wrinkles, but I'm going to make it handily. Here the eye lid, it's a little more. We have a little more hard work, not like hard work, but these spend more time. So these parts are going to make more strong, more market. It's normal. Don't worry about that. You can mark a little bit more because remember, we're going to lost these elements, this effect. So Yeah, mark a little bit more this port. Yeah, this region. Let me see here, this part, the wrinkles of the eyed. It's kind a fat pad, but this sion can be symmetrical now. If you want, you can break the symmetry, think the next part, I'm going to break the symmetry. But These part, these wrinkles of the corner of the eye are extremely important, but how you can say, I'm doing something very market, but not so small details. I'm just creating the face structure. You can use reference, of course, but usually, this is the same structure for all face. Here, on the year port, usually you have. And how this guy I am doing a little more old, and it's kind of warrior. Lamd density density here. I want to mark a little bit mark. You have this face expression. It's kind of a tired guy, a warrior that fed that he fg a lot all the time. He's a hunter. A strong guy. It's kind of I am a hunter, something like that. He lives at the weld probably and need to hunt the animals or creator, something like that. So bring this identity. Te a history for the character. It's important. Of course, we have a pose, but we can tell a history for this character, no matter if I have a a pose, we can adapt it. So this is so cool. So basically, I' going to create these other wrinkles here. The Msater here it's part of this region. Yeah. So that's okay. This region of the deltoid, between deltoid and pectoralis. So landmarks, I think the clavicle, we could increase a little bit. But usually the clavico is not to the tailed. This port here, aternocledomstoid, bifurcation. Yeah. Let me see. That's okay. The joe line is so good too. This region here, I think we can increase a little bit more mark a little bit mar, too small, need to be more large, small. Yeah. That's so cool. This part of the month. The next layers, we're going to refine it. It's not time. That's cool. It's treble important mark this region. It's se important. You follow pipeline, for example, I'm going to start with base, base two, base three, noise, pores, then direction, then wrinkle. It's very, very good. You follow this pipeline because it's better to underst. Somar of the orbicular cool here, this facial expression line, usually have this line. And yeah let me see, it's going well. This part is a little bit more contrast to that school. Yeah, it's kind of I'm hungry hungry a little bit more. Let me see here. Usually, you have a lot of expression here on this part, but I will not force a lot. I'm just marking a little bit more here because the concept, re reference it re mo the concept reference, we have this facial expression, but From this point, we can define or on Zi. So let me see. I think that's okay for now. Let me create O layer. And now, what are we going to do make a distortion. It's to break a little bit more yet the model. It's also so important. Start with standard, and I'm going to use. Let me see here. I can use. You can use, of course, your own Alphas. You can make download from Internet too or you can use this alpha preset from brush. Let me wait a little bit that scratch, but that's we're going to use this CG sphere. But we're going to continue the next lesson. 23. Finishing the skin details: Continuing guys, we're going to use the CGS here. Alpha. You can make the word or buy on Internet, but I recommend to use the Rando press heat from brush. It's distortion, basically, it's to create this. I think I can call it cross. Maybe, see. This intersection maybe between the wrinkles. So let me see here. So we can increase a little bit on abdomen on this part here. And This region, we have more elements, usually. It's the defold, because it's more flexible, this region. This distortion, it's more like crossing between the skin part of the lines and to create this this vital. How I say you, I am making more intense Here too. I make it more intense because in the second part of the cures the course two where we're going to test the character, we have This part here. We have the bake. So when we need to make the bake, usually we lost a lot of information of death, for example, the cavities are missed a little bit during this process. So because d, I like to make a little more strong. So, the p is here a bit to the neck. Sorry, guys. This landmark Here goma a little bit, and can increase a little bit on this part. So when we are doing head this work head, take more time, of course, but we can explore a lot. So it's very cool. Of course, here, it's a little mixed with realist and stylize it. We have this filing a little bit stylized. So, here. L et me see on this other part. Yeah here too, remember, this part will appears. So let me see. It's good. It's going well. I like it. I think I can move on to the highs maybe. Let me see this bottom part, a little bit more strong on the legs, the vastus medialis muscle and the intern parts too. Yeah can be a little more strong of co because we'll be better to make the real time rendering. Now these things here too, here. This part here too. Yeah. Let me see or more. This region of the knee, the tibia here, gastrocnemius to this port here. Here too. So Of course, if you're going to look for your leg, probably you will not see all these details, but there are there. So when we are working for games, we need to make some things more exaggerated. Exaggerated. It's normal. Well, let me see here. I can I could use this Alpha 62 or Alpha 61 to the first port ipse, but well, let me see where I can make more on the e. Let me create new layer. I'm going to say the name to distortion two. I want to work on the lips. Let me see here. Let me check a bit first on zigomt region, the temporal part, phase, superior part of the head, temporal region. Let me increase a little bit more here because we will be important. This region, frontal phase here knows. This region. I wrote the mob cool cool, wrote the mop. And the chin here too this region. Here I co create a lot of different wrinkles. When I say a lot of different, I cod increase a little bit more, but I think that is not necessary. The neck, it's okay for me. To think about the game pipeline. Imagine that you need to reproduce it on other characters. It's not so good you make specific things. How is that you're going to make wrinkles. Handle wrinkles, think about that you need to optimize the things. For example, if I need to reproduce it on other characters, the pipeline will be easy. If the answer is yes, you can do that. But if it's something too specific, I don't know, I think it's not so I think it's not a good idea. Of course, it's depend of the project. If you want to make something specific for you or for your portfolio or just the study, that's okay. But when we need to talk about the pipeline for games that companies use. We need to think about the Let me create other layer here for and distortion. When we talk about the studios, we need always to think about procedural pipelines. Let me use this lash here. And continue to make the details can be done standard, and I'm going to try to work on the face details the lips. Let me save. Let me finish the lips here. I need to wait a little bit the brush because it's mills of melons, polygons. So it takes time to save, of course. Well, let me increase a little bit the les, region here, increase a little bit. This region here, create a little this wrinkles. Also, let me see here, this party here, play a little bit. It's more to create a contrast to increase a little bit, the landmarks. So also we can turn off the symmetry now and I can increase a little bit to break the symmetry here. So I'm going to make on this side and on this side to here. In the here. So I called to break the symmetry early to the les, I think. But that's okay. And how is that you're going to make the tails asymmetric? I recommend you make just wrinkles, for example, powers because this will will not affect the will not affect the topologies, for example. I can make a symmetric topology here with asymmetrical details. So I not recommend you make big movements, for example, try to break the symmetry where you need make asymmetric topology. It's not a good idea when we talk about when we talk about game work flow. We're always going to try to make something that can be can be more fast when we need to make the topos. L et me mark a little bit here between the deltoid and pectoralis. Let me reduce the intensity here a little bit. Make these landmarks. Of course, you can spend several s and make a lot of more details. As a metrical bumps and cavities, but for me, that's okay. It's for a game and We are working and recording out this process. So it's not a good idea. I spend a lot of hours. Of course, it's normal when we are talking about anatomy and wrinkles and the tails. If we are doing it in real time, of course, we'll take more time. So here I can break a little bit symmetry about the wrinkles and the tails. Play a little bit. This side here too. Mark a little bit more here, the division of the ribs here. Let me see con active symmetry and work this part of the pes with the lower arm. Here, this region. Yeah. Let me pt and try to follow the flow of the wrinkles here this way. Yeah, better and here to this region. And yeah, I think that's okay. So the back parts too, the divisions. Yeah, just to mark a little bit more. Void triceps here. This space, how I say you, I need to make on this way because we're going to make the tpology and to animate it. But of course, the correct way would be make a T pose. But I try to make an A pose because it's a personal project. So it's more like a personal project, and not something that I need to send to an animator to animate it. But that's okay. Let mark here a little bit on the ropaso part two grease a little bit, and we are almost the let me see. Yeah, I think that's okay. That's cool. I think that now I can move on to finish it and make the lips. Th that's okay. This set in Merica is so awesome because we can see the D de tos. Let me create an other layer here and let me name to lips Let me set your lips. The first thing that I'm going to do here, it's the big shapes. It's not a big shapes, but make these volumes, this division here to create this little fold. That's okay. And now I can create other layer to refine a rod mouth and create other little det. It's a good technique. I like to do that. Let's go the brush, no crash, please. Oh, thank you. And let me use the standard or it can be dumb standard, too, but I like the standard sometimes because he it creates a volume that it's more cure, it's a good volume, and it makes more natural vibe. So now I can use this lash or dumb standard. Let's see them standard, and I can break a bit this region here. Make better detail here. Yeah. And I think is it, guys. And we're going to continue in the next video. I think that's okay for me. That's cool. Just mark a little bit more this part here a bit. Yeah. And It's not continue, how you can see and near of the middle of the lips, and I can mark a little bit more here and and here mark a little bit more too. And it's okay for me. It's okay. Is it, guys, see you in the next video. 24. Sculpting the Hand: Well, guys continue here, we're going to scoped the hand, going to start plocking, to scoped. I'm going to close the holes, and I think I can delete one side to work on only on one side. Let me see here. The secret is sped basically anything and or or fit, for example, the secret, it's the block destructor and work comely. If you try to make the things very fast when you are scoped. Hand and fits, or basically anything about the anatomy, probably you're going to get a bad result. So we need to make the movements here, work with flit and other brush, but try to find the as sins. It's not about the moocs, for example, but destructor, because, for example, sometimes, we need to skip the stylized hands or cartoon hands. And basically, we don't have a lot of details. So the secret hands and fits, it's the structur work very, very commonly. Here, I try to find the volumes. You can use your hand, your on hand to use as a reference. It's very, very good. Of course, this is a base mash, but it's same that if we're going to make the blockage from the sphere, this sphere, same thing. Here I have the phalanges, dt phalanges, and I'm going to try to find this structure first. Here. Let see the proportion. Let move a little bit more here. The secret, how I say do its work calmly, I can smooth a little bit to separate because it too close. The mesh is not good to make the bakes or toes cooked. It's a little difficult, but well. Here we have the ****, connections, and let me see part distal bond region. Let me move a little bit to give a little movement inside it. So how you can see it very, very small change. So this little change bring good ge for good expression. To the hands because hands they basically hands tell a history. So this is important. Now we're going to try to bring this volume of the phalange here. Basically, this finger will have only the proximal dist phalanges. Basically what I'm going to do, try to inflate this region here to bring at bit of the volumes and try to find the distructor. On the tips are more in. So let me see. Basically, here, I was using only the dynamic subdivision. So It's okay, but the seres part, I like to work on the structure, and I'm trying to endorse the element here. Let me see. This perch. Let me see here. I think I can increase a little bit this division. And for now, let me work with I think I can use the zero mesh and reorganize this mash, probably. But it's necessary to reconstruct it. I rework. I don't know. Let me keep the same and use the Zero mesh double. Yeah. Yeah, thing can be more resolution, but it's easy to change the structure. Yeah, I think works. It can works. Let me smooth a little bit. And when I smooth it is very, very soft is smooth, and Im going to try to smooth a little bit and separate ale bit. The fingers, the space between them. So here. Let me try to find the direction. Here, guys, I recommend you spend a long time. This is the most important part because it's the blockage. So if you don't make it, if you don't make it correctly, probably you're going to have a b So here, let me see the side volumes. Let me see. Yeah. Yeah, I think the structure, it's portant we check together with the model, but now I going to press Control to increase the subdivision, and I'm going to try to bring the landmark of the phalanges. The phalanges here s The overo stroke tour. So trying to bring the finger side it. Yes. It's going well. The phalange here landmark, the phalange bone bones. Here we have the tendons to its mix, but on this part, we have the tendons here more or less. Yeah, more or less on this way. Yeah, it's a good landmark. I think that's okay and the Mini. Just to create the landmark. This secret here, guys, is not try to define a lot the bone. The secret here, it's tried to make something very clean and a good transition because a lot of times, usually, I did like suppressive landmarks. And this is not good because basically the hands that I did it's kind of it's kind of some skeleton or the bones, the phalange appears a lot. So I don't like I prefer inflate here on this region and try to work a little more inflated and a little bit different. The transition is better. So of course, I'm marking here, for example, the tendons. But how you can see, I don't have a lot of information of the bones. For the radius, the una or the metacarpals, or the carpals. So I'm trying to work together with the skin and with the bones. But we need to have something middle term equilibrium, for example. So here we're going to mark this region. Little bit two. Yeah. The mark this region. It's kind of glove, but it's not a glove. Yeah. I can bring the siluet of this finger. And remember, you can look for your own yourself, your finger. Yeah. Then I'm going to block the naves. Now I'm going to inflate a little bit this part to mark the fan. Las radius, it's important. This workflow it's a low workflow, but the results more more clean and more beautiful. It's beautiful than when we are scooped very fast. Be usually when we scoped very fast, it seems like catch usually. It's not a smart str usually. Let mark a little bit more this transition, separation. Bro, for example, the carpose and meta carpose. But it's connected at the same time. I want to show this separation, but it's paradox because we have a separation, but at the same time we have altogether. So bring this feeling it's di you can follow these steps, working calmly. Divide here. I don't know. Maybe this region here, maybe I can have some problems when I'm going to make the repo because it's very near very well. Let me see. This part here too, let me add more volume. Let me see. This part here too. And let me mark a little bit the tendons. But take care, how I say you to not mark too much. This other part, let me move a little bit or inflate the tip part, spherical shape. So of course, guys, we have different workflows. Some guys like to use I use a Dumb standard. Dumb sander. I use a clay builder or clay, and sometimes I use inflated depend, of course, of the project. But usually, when I'm doing Something calmly use the brush that that require that you need to work calmly, it's better. So for example, when you're going to work with clay built up, usually descriptors are more fast, and it's necessary to make the movements more fast. But when you're going to work with infla you need make more calmly and slow. So this is the difference. Make the fingers more inflated, a little bit more wide, more strong. It's a good strategy for male characters. Because usually are more expressive. And remember, we are doing a hunter, so it's natural. He has strong hand. So I move a little bit here. Here to small movement, here to move up a little bit, this volume and here can move up a little bit. So I have this silets. And here too. Let me see. Yeah, this part I moved out, and the other part, I pull a little bit and inflate a little bit. Now let me break a little bit the other parts. Now I can mark a little bit the lines lines of separation. Here too. This part, can inflate ring volume, and then I can mark it. And move a little bit to simulate the phalange, and I can inflate now a little bit too this structure. Yeah. T simulated the phalange effect. And create the tendon effect too. Here same thing, we have more volume on this region, and how we have a lot of wrinkles here. We can create this effect more organic because here we don't have bones. Basically, we have the carpal and the palms. But between this space, we can make a lot of movements. You can test it with your hand. So it's flexible. So we need to try to reproduce it more flexible. So let me press Control D again and start breaking in more parts, more elements. So here too, and bring this effect. So how you can see, I am not using layers now because I'm working with subdivision, so Control D, then control D, then control D. But the idea the layers. We're going to work in by by layers. Step one, structure, step step two, first, first blockage, first volumes. Step three, refine a little bit more volumes, step four, refine with pores and winkle we have the nails yet, too, but here I'm working very calmly with tendons with this region to give a good aspect here, two triangles. Basically. So y I can try to bring the cavity here. And worked very very calmly. Usually have more expression on the 33 fingers. Now on the g Mini, I going to mark two but not too strong. It's just a twig there. So you can see, going very well. And I can make same thing here. Try to bring a little bit more separation and details. I can mark make very strong landmarks. No problem. And bring these lines here too because we have two films only here. Basically it's one line. And I can smooth a little bit. Here, same thing. Move a little bit. I recommend you mark very strong. First moment. It's strely important. Yeah. And I'm going to make the other landmarks too. Stro strongly important. Here, this part. And here too, because we have two filings, so basically. We have three filings, sorry. So we have three filings. We're going to have three lines. Then I going to make the other lines. But first so. Let me move a little bit here. Yeah. I got to activate the back face mask. Yeah. Let me cut here. And make it in the other fingers too. So yeah, too strong. I could work with poly groups and separate it, but well. That's okay. We have a good space to work and here too. No more in front of the line here and on this part two. It's kind of Mo Mo. Yeah. That's okay. Yeah, first landmarks. And now we have we're going to move on to 30 year. And here. So remember, T pals, T wrinkles, Topalns, t wrinkles. But this process it's more strong. Always two hand, it's more strong. So let me see. I can make the latter with lines. Of course, it depends each hand, some hand to have a lather. M, other hand to have other lines. Yeah. Let me bring a little of more volume to the palans. Here. It's the same thing, for example, t pings, three volumes. But but it's like a bump. And then and Before we are working with lines. Let me add this volume a little bit more. Y commonly, not too, not too strong. Let me use the move and make this side it. Here to move move a little bit to bring the volume, to have a more slender co shape. This way. I think for now is it, guys, the next video. Let's move a little bit here. The next video going to continue. 25. Continuing the hand: And while I so continuing here, we're going to continue work on the fingers here. How I say you, it's a low process and this t idea. And looking to the palms volumes here. And I am always trying to fill the cavity to with volumes because I don't want something, how can I say something to With a visual of Correa or something that show a lot the pilings. The idea here, it's make the fingers more cylindrical. Here, of course, I go toagurate a little bit to bring this this parts of tendons and mark a little bit more of the paling here. Lamar create some cavities here, reduced intensity. Use this lash. Reduced intensity yet. Uh, And here separate a little bit too. Yeah. More or less y can be here too. It's kind of a V. Letter V and the other side here too, and then move a little bit. Yeah. That's good. Here same thing. O side. And y. Yeah, good aspect. Good volumes. Yes. Let me see. I can move a little bit this. This part here. Let me make a mask. And I going to move a little bit to this region. Let me see here we can move out to bring a more natural pose to the end. And let me see. Move here a bit too. Take care about the space bit in the fingers. Remember that we need to make the we need to make the reduce intensity here. Sorry, guys. We need to make the retropology yet. And it's a game character, is not sculptor, so we need to think about that. And the transition here the hand to the lower arm. So let me bring this part. That's going well. Let me see here. I think I can mark a little bit more this region here. Increase a little bit intensity and bring the landmarks here. I think that works. So see this part. Come on brush. Yeah. Thank you. So let me bring more contrast to the tendons of the hand and here same thing. Yeah. Let me see. That's okay. O part here to you. Mark a little bit more. This lash brush the cool that it's different a little bit of dumb standard. This lash, it's something between the dumb standard and rb crack. It's very nesome. Very wesome. Because it's not too to fin, and it's not too open end like the arbicc, where we have a more stylized shape. And here we can bring a little bit of volume with the clay to create this effect mixed with bones, the carpals bones, and the tendons and the skin. So these bring some aspect. Yeah. Let me inflate a little bit this part here, negative to create the nails landmark. Then we're going to refine it. Let me just mark to have the pose position. And the inflated school because we have a good aspect and not a fake aspect. So let me see. Bring a little bit of the alange effect. Here to dig D Mini. So yeah. Let me see here. This part. That's okay here. Yeah, more volume here too. Here I'm doing more details, but if you want, you can make it more generic. But if you want to practice hands, you can make something like I'm doing. Craze a little bit sport. Yeah. Let me ma atle mark the nails too. Let me bring more volume here because it's two box shape. Cube shape and, we need to break it. To mark it is good, but keep it is not so good. We need to make a mix. So let me bring the na position and landmark here. Very sm volumes enzyme. Yeah, let me flat a little bit because it's not so good sport. I bring more volume here. Yeah. I can bring more volume and increase a little bit sport. More volume. Here, between these lines that I have marked, and here too to fill this space, this cavity. Because remember, it's skin, it's a finger. Of course, when you are doing something stylized, it's different, but how is a bit more realistic. We need to take care about that. Let me use this lash to mark and bring more and bring more refinement. But I need mark the nail of this part here and bring more volume to the fal inch here too. So I'm work on the t sub division with three subdivision very very low yet, but it's enough to mark the positions and the gd line. So let mark a little bit more of the llange here, but we need to take care. Is not to market. Let bring more volume to create the wrinkles folds here. Here too, and move and bring more volume here too. Yeah, and here too. And same thing in this part here. So let me. Let's move a little bit here. And here too. So well, Let me try to mark here to grad the nail. Yeah Comely, guys, very comely, and how I say you, each artist has have has your own technique. But I recommend you exploit a lot of techniques because sometimes to improve your sculptors, it's necessary you try to change your workflow. It's always good because if you want to increase as a treaty charac artist, sometimes it's necessary to change the way that you are thinking. Here, let me move up a little bit. Yeah, So I bring this silt. I forget it's something chicken. I forget Little. Little no. Let me see. I don't remember now the expression that we use here in Brazil. I don't remember. It's chicken, something. Here we use the chicken drum stick. The expression, it's fg design. So it's chicken drum stick. It's very good to remember the shape of the finger. Well, mark a bit more here. And bring this volume. I don't know if I going to add ladder here or not on this part, but well, I going to sign the complete hand with details because then if necessary, keep it clean without clothes on it, it's okay. It's done, so I prefer make this way. And basically, here what we're going to do, guys, it's refined and refined, try to create some nos, different volumes and play a little bit. With these forms. Don't have a specific design and specific volumes and structure that you need to do. Now, it's basically observation, use reference, and of course, you have your hand, so you can use it as a reference. It's awesome. Make morphine a little bit. I could use inflate deformation. But use the brut, it's better because I can control each finger and that try to use the deformation inflate that will be applied for all the fingers. But of course, we can work with masks too. Very well. The dorsal vision, it's very, very good, but the other part is not so good yet. But that's okay. For now, that's okay. Let me see here. I need to make the nails for these fingers yet. That's okay. Let me fl a little bit more here where we have the digital part. And here too. Here to a little bit more. Yeah. The other two, it's too flat. And we've polish and we've polish so it's good add a little bit of volumes using the inflate brush and break this flat visual. The flat, it's more kind of it appears there, but it's not to say, Oh, I'm here because we are work with realist. It's different when we are working with stylize, we try to keep the flat and polish head parts in evidence. And when we are working with realist, we try to make m Just some some some little information. The polished part can be there, but it's better you break it adding a lot of other volumes and no ones. So let me mark here a little bit more. The tendons and the fin inch volumes. Because we are preparing to then we can refine with the Alphas and all these things. Soterally important we have the structure ver defined it. Totally important. Do that. So let me bring more volume here a little bit. Change the direction of the tendon. It's more diagonal. Yeah. Very easy. We can move a little bit. Yeah. Let me mark a little bit more on this part to bring the nail design. Well, you can see, it's not the final version of the nail. I'm just adding the landmark to use as a guideline when I going to refine it. It's something. Here, I have the correct position of the nail. So I can refine here. So it's not necessary to make a lot of lio dts. But if you want, you can increase a little bit more. It's depend. And let me use inflate here a little bit. Yeah. That's okay. Let smooth. Yeah. So Yeah. It's good. It's good. It's enough. So mark a little bit more yet. Let me subdivide a little bit more, and now I can refine a little bit. The nail. Calmly Yes. Yeah. And here. That's okay. I will not separate it because I'm work for a game, so I'm think on the tropology. I prefer to keep it together and then can test it. Of course, when we do that, the fi is different. But no matter, that's okay. Because it's altogether to create the map, some maps to make this part translucens, is not so good, but that's okay. It's not something that we're going to have a big close here. That's okay. Yeah. Yeah. Let me use the hy polish a little bit. Yeah, make different material here to create a different aspect. It's more hard inorganic. It's organic, but the diviso to be inorganic. Remark here. Hold out to create this little bump, increase shape. Let me make the mark d here to mark twos and here to hold out to create this structure. So Yes, let me create the d. These little volumes to make me realist, two, three volumes, direction, and break the big shapes. That's cool. Awesome. Yeah, it's working well. Let me say, Oh, my God, let's go. Yeah. No crash no crash crash, no crash, please, please. Yeah. It's a different expectation because bras always so crazy, so I don't know if we're going to I have some crashe. So it's kind of, I am almost 20 minute skept in without saving Oh, my God, I can lose this file and this progress recorded. So it's so frustrating when this happened. But it's the life. So let mark a little bit this other part here too. Red nail and Mark. So how I say you, I just created the guideline with a little volumes, and now I can bring more contrast and define more this part. But the overall structures very It's very well done, so it's very easy to create the other parts. So I recommend you I don't recommend you make the nails first, for example. Try to work on the shapes and the side of it. It's better. Let me create this part here, move the move to change the design a little bit. And position a little more wide, I think. Yeah. That's okay. And with this slash, I can bring and separate a bit this structure. To bring the cavity. Of course, this cavity will be very good when we need work with the vator and the fickness, because we can use the ficknes and invert to create the vor map, or we can create the K vor map Marmo cyto bag but it is not necessary. But well, when we're going to use some mass door, we have the option of the cavity and we can control it. Yeah. Yes, let me move a little bit. And now I can use the move or the inflate to create to inflate a little bit. It's more cured, and we can use the high polish then let a more volume here this part. Here I make a little bit more exaggerated. If you're going to look for your hand, probably some volumes will not appear too easy. But when we are working with red it, create some volumes more intense. For example, here move up a bit the border here, the transition between the nail and the skin. And I can move a little bit some part and try to work with more definition. On this part, hold out to create this structure or if you want, you can use the inflate to, but this lash works well. Dumb standard too. But how I say this lash difference by Difference of slash, dumb standard, and rb crack. It's that the lash, it's the between arb crack and dumb standard. So yeah, the overall structure, it's good, so in the next we're going to continue. 26. Finishing Hand Sculpture: And well, guys, so continue refine, refine and refine. Well, I'm going to refine and bring the contrast to this nail. Yeah. It's going well. Thank you. Design is going well. I'm going to refer some parts that need more volumes and more contrast. When I say contrast, It's something more It's more death to the model. It's kind of cavity, something like that. I say contrast, to break to take off the plastic aspect or rubber aspect, and bring more more skin aspect that we want. So let me see. Let me flate a little bit here. The good part when we have a good topology that we can go to low subdivide and change the structure. But how we spend a long time working on the structure. Now it's very easy to follow the other parts because it's just to add some nos and small volumes. So now what I am doing now, it's kind of for each fingers, its finger. It's kind of create a noise aspect. It's kind of turbulence, clothes, turbulence, but with the mesh, for example, using the inflate or standard brush, but it's create some turbulence to break the flat or small fat aspect of the mesh. So it's important. Let me see. Here too. So how you can see I have a lot of elements, a lot of little volumes that form the complete structure of the finger one here, I need to add more volume two. A little bit and here too, more volume. Of course. So how can I don't make continue movement. I like to break part by part to create a better aspect. It's better. So yeah, part, I need to create the other nails. It's going well. It's so cool. And now I can design. Let mark a little bit more because I want to more cavity here. This part. Yeah. Here. Smoke a little bit. Yeah. I think it's often I can mark the other Nao. So how you can see when how I am doing now, for example, I am work on the fs subdivision. It's different the aspect of the Nao seems a little bit more fake. Because I use that other technique. I block at the more finite shape on the three or two subdivision, and then I refine. Then I refine a it, and now I'm creating the final version of the nail on the four subdivision. Sometimes I like to make this test, but we have different aspect. It's a little Difference 22 is small, but make difference. So yeah, let me increase here a little bit more, hold out, and break this part a little bit. You know, That's a. That's cool. Let me isolate it. Let me remove this part. And let me work on the wrinkles palm wrinkles. Here, volume. Here too. I could remove. I can remove is a flat high polish brush. That's okay. Yeah. Oops. Yeah. That's good. Awesome. Yeah. Of course, we have a strange aspect because the latter part with the rope. The cloths are not finished, because that bring this strange sensation for us, but it's okay. The anamy it's going very well. And here we're going to make these wrinkles on the phalange connections, bro the pros and distal phalanges. Here we can make more strong, you. That's cool. Yeah. And how you can see I'm making the strong landmark more between the proximal and miro phalanges. But when we're going to do the final part to the distal to the tip, next to the nails. I keep just the the volume only without the wrinkle. Let me refine this part here too, curvet, because it's a mayo character, so the birds the bird are more curt. Let me move a little bit in front, not too much, just a little bit. Little adjustment. Can use the hypolgh press if I want or just smooth a little bit. Yeah. I have this curve from top curve. Volumes, I think I can bring more contrast. On this top connection. Let me see on the top part here. Between the nail and the skin transition. Reefers a little bit more. Yes. That's okay. Then I can inflate a little bit this sport. Yeah, that's cool. Awesome. Now I'm going to move to the next one. Mark here, the nail. M his slash, how you can ese not to continue. First, I mark the point and then I make the curve. And here I hold out, and now I'm going to try to bring this transition. Me for a little bit more, but then I need move up a little bit. Move and make this curve. To fin, need inflate a little bit and bring volume on the nail. Still flat, so now I can use inflate and bring this. Yeah. Yeah. That's okay. Latam isolated to work on this finger. Tom flat it sport. Yeah. Take care here, you can act back face mask if you want. Tum fate. That's enough. You create a little of volume. But how you can see is not too intense, the wrinkles on this transition between the distal and middle. Next to the nail. I have a lot of little volumes, but the wrinkles are small, not too strong. And between the proximal and mid plane or more intense. Here it's de turbulence technique. It's a nie handling noise, but just a little bit of noise and not too intense. It's cool, turn off. Mark a little bit more, maybe the inflate and I could refine a little bit. I think the s and mark a little bit more. Smooth. And the tip of the here too. Yeah here. Yeah. No, yeah. It's better. No. Let me move and mark more here. Yeah. Yes. That's here on this part, I need to increase, fl a little bit. Yeah. This part here. I can use the hay polish too and smooth or use the hay polish. But it's something that no matter, it's easy. And good because I have some dots. Seems more natural, sometimes, of course. But usually on the tip part of the finger, we have the digital here, and we have more clean shape. It's. We have the inflate, but it's more clean. Yeah. Let me make these other part here. So how I say you on this region, between the proximal and middle. We have more wrinkles and fold. But between the middle and dist, it's more clean. Now with the slash, I can make the same movement and the middle. Yeah. Go. That's okay. Then I can remark to the other parts. L et's go. Let me inflate a little bit to break a little bit the spect. And yeah, more natural. That's okay. Yeah, good. Awesome. Yeah. This part we need to refine more, break a little bit de volumes and the shape, but it's going well. Let me refine here, to create this transition. The little wrinkles here continue wrinkles. Yes. Good. Yeah. Let me see. D is the minute to finish the blockage. Oops. To strong, reduce the intensity. Yeah. That's okay. And sove bit. And yeah. How you can see it's similar, but it's different to each finger. T strong a little bit, but Mark a little bit more. Let me see. Let me move. Use the pinch to to make to close the gap a bit. To approach the mesh. So now, just miss Deno, Dimini Yeah. Let me refine here. And just is missing the Dm. Let me add more volume here. This part. Awesome, so. Let me use this slash to create the Dm. Top line line, sideline. Ops, Yeah. Other side and connect the three te lines. Yeah. It's good. Let me see. That's enough. Now I can refine edit. Come on the brush. Yeah. Thank you. Inflate Inflate. M contrast. Let me say first and on, crash. No crash. Yeah. Sorry, guys. Continue this port, let me inflate, and we are almost there guys. Let me increase this port here inflate, a little bit too. This region here. Yeah, this port I think that they can inflate a little bit more here this part and move move up a little bit to increase the salute and the NO two, mark cure vet. And here inflate a little bit more the top part of the Nao. Yes. Yeah. And to finish, we can create the turbulence between the miro and distal. Let me just move to the into direction of the Na and out here. Yeah, more or less something like that. That's okay. Move that a little bit to the sport. And now to finish, we can create the turbulence within the inflate. So I'm going to bring more volume to the sport, flange connection and create the turbulence, It's kind of something like noise to break the flat surface. So, I think it's enough. It's awesome. Good. Yeah. So is it guys in the next video? 27. Sculpting the Feet: Well, guys, let's make the fit. Let's block from the base mash that we got from here from Zbrush. Well, let's go. It's the same technique that we have done let me turn off dynamic that we have done with the hand. So the first moment, we're going to try to find Let me use the zero measure double and zero measure, and we're going to try to find the overall structure. Yeah. We're going to try to find the overall structure, and then we're going to block the element. It's the same thing. So what I going to do is basically, try to find the shapes, two by two. It's to toe and very very calmly. Let me see here. And I always work with reference. My references are on the other screen, but you can work with reference from Internet or take f take take shots from your own feet. I did it a lot of times when when I was learning anatomy. I skipped that my own hand. It's a great. It's an excellent way to learn and use the correct reference. Here I'm creating the stair silt. Sir solutes. So it's the same thing that the hand, being the phalanges, I'm creating the volumes and try to create the destructor and now I'm going to move to bring a little bit of the solute. Guys, feet. Let move here. F necessary. You make it calmly. Okay. Because if you try to make it fast, probably, you're going to get a bad result. So let me use the mask so in the late sport and work on this little guy. Yeah. Very, very calmly. But how you can see with a low movement, low movement, small movement to have the Overall silett. It's better than before. Okay, I'm trying to find that you're the overall structure. Yeah, let me inflate a little bit to this sport. The inflated. Et me see and here. Let me flate the bottom part. Here the bottom part is not necessarily to work a lot. Of course, I'm going to work a little bit, but it will not appear. So I can then use a high polish. So we're going to work on the top part. Here we have the personal and gist pins, two pins only and the other parts we have three. It's the same structure of the hand. Yeah, let me try to define the overall structure here. Here I'm creating the transition between the two palins, and where we going to put the NO two. Here, let me force a little bit. The Muscles. Yeah, the structure I can crease a little bit. We have the toss, metass, bones, and here we have the tibia and fib bone landmarks. The Muscos of the f two. Yeah, but it's just follow the the basis only. Let me first a little bit more this part. Yes. Rt. It's going wow. Let me move. This is structure moved a little bit. And maybe reduce the size of this too long. But for now, we're going to keep on this way. Let me inflate, maybe negative hold out to create this transition and landmark. Let me see here, too. And move here. Let me slate this part. And try to move these guys to make more sense with the proportion. T. Don't orgize feet are very complex because are not something that you can see every time. Because if you work, probably you are using shoes, and it's different from hands, for example, so don't worry to get a good result scipt and fit. You need repeated process for a lot of years. So don't worry if your sciptor, not not not become that you would like. So don't worry about that. Yeah, this guy and work with reference. And if you have some difficult, if you have some difficult to do that, try to go to the stylized idea and make the high psh landmarks, and then you can break it. I work on the low structure, very calmly and creating this sir. These tirs structure, it's the same technique that usually, I think Andro Blumes use to draw. And we have the books. I don't remember. I think from Androms, we have good draws from the feet and Michael Michael, I forgot in name, but it's Michael something, drawing an innovation. I think it's awesome to learn the planes of defeat. I really recommend you by this book. I really recommend because you can apply. You can apply concept. You can apply in the three D sculptor. So here I increase that structure, make break a little bit to cylindrical shape, and let me subdivide it, contri contradutory times. And now I can add the volumes, be the between the alange. Transitions. So here, let me insinuate the bone instructor. Remember, I like to mark the element and then I break it and I add more volume and mass, if necessary. So here is design if in volume. Yeah. That's cool. Here the other transition between the metacarpus, metatarsal sorry and the phalange. And here we have the tendons too and marking more strong, then I can break it, but it's going well. Yeah. Here, too. And here the tendons. Let me see. And here, Martin Diagonal. Remember that? It's Martin Diagonal. Here too. So I'm just marking it first. I'm not trying to finish or bring a lot of change. I'm just bring tendons, define the structure of feet, and then take a refine part by part and add little twigs and changes. Probably this part of the feet will be hidden, no matter. But if we change the idea and make a different cloth to this part later, we're going to have a good feet scuba. This is the secret. Let me bring to side this part, side is not so good. Let me reduce this part, and let increase here. Yeah, moving front. Front bottom. Bottom of it's not so cool, not so good, but that's okay. L remark here. This part here too. L et's go. Let me inflate the tips. Yeah. Here too, but yeah. Same thing. It's two square, but that's okay for now. Remember this part, it's touching. The floor the floor, so I need to take care about that and bring this aspect. I reflate here. Yeah. It's okay. Smooth a little bit and bring more volume here. This region. Yeah, the side part slide to mark the cut between the fans hops, increase the intensity, and create this landmark. Inflate, and I can sth a little bit. So this transition, I like to create more intense because it's important because I can see the transition. And don't worry, it's not so good yet. But then it will make sense because our mind thinks that it's different. But when you look to the feet, this is decilit and design. But in our mind, we think that it's a perfectly and shape. But when we start analyzing, de feet structure, it's a little strange from the bottom part. But that's okay. No problem. No way. No problem. Just keep doing the things. Yeah, here the bone. Bumping here, be more intense. But then we can It's a phalange, it's a bone. Then we can remove that. And I'm going to mark the transition between the phalanges here here and here. The minimum 22 here, it's a curve. This is important, you see the andro drawing and design an innovation book from Michael Hampton, I think is Mike Hampton or Michael David, something like that. But just type on Google on Internet and search for search for design innovation or drawing and innovation, but I think it's design innovation. That's okay. Let me create the I'm going to mark this part here too to bring the tendons more intense. Same structure of the hand, same idea. Then we're going to add volumes with y into between the tendons. Let V one side. It's. Here it's more close. It's not too much, but that's okay. Maybe then when we're going to make the topology, probably I need close it, maybe because to bake it will be a little complicated, so maybe I close out it, make a mask to close it. Or I need to open all the fingers, but I'm going to close because we'll be enough mark here, here, and this line and this line to create this effect been square and cylindrical and all this design. More similar with those. Here we're going to try to find the design silty of the tos. I need to apply this physical visual, this physical feeling. It's we have the correct. It's on the floor. The physical it's happening. We can see, it's important. L et me add volume here. Here will not work too much, just to compose a little better. They're going to keep it more flat and without form here. I focus, it's the top part. This region, we have more volumes and it's a little more strange. It's a little more strange. It's normal totally normal. Yeah. This Mini guy here too. That's cool. So from topic, it's going well. I love Division. I'm enjoying. Let move here and here. Let me bring this landmark very strong to separate and bring this shape to that cool. Yeah. Here the same thing. Let mark a little bit more to create this border. And I going to make the tendons more intense too. Yeah. It's good. It's going well. L et me mark this part here. Remember, letter B. And how we have all this part marked together. Sometimes it's a little difficult to understand. But that's okay. And here. The suspect this. That's good. That's okay. Here to cut. This part move a little bit. And mark. I can use the inflate. Yeah. Derision on the filings. C also the design. And here, pull a little bit more into the direction of the feet. Yeah. It's going well. L et me see here, these other region and here. So let them inflate. Here to separate, a little bit. And let them add volume here. Little bit two. 28. Continuing Feet Sculpture: Yes. I mark this other part here too. And remember, how is Together part. We need thing different. I divided a little bit more. Yeah. Let mark here. Then I go to close out sport. Let me inflate this region. And let's go. Let's continue. Try to find the overall idea and shape. Here we have the two cuts, one side, and the other side because it's not too close, and we don't have this overlapping. Too intense, like the other parts of the tos. Let me use the inflate to create this volume of the phalange here and here too, and how you can see we can see the overall structure. It's going well. Of course, we need to change a bit of some volumes direction. But it's going well. It's good. Now, I need to work a little bit on the silt and here. Yeah. Let me see. This side is very good. This angle. Sorry, guys. And here the tibia bone, landmark, the ankles. And here, I can bring the voume. Here them. And here the Mc. Bring this volume here too. Remember, guys, you can get the anatomy cures, where we're going to work with a lot of other reference and have a fox only on the anatomy here, it's the workflow for games because that we are not talking a lot about the moot cos or giving a lot of examples. The idea here, the fox here, it's more on the workflow and on the script. Cpt. Don't take a long time, think about it the anatomy, if you are learning the process, the workflow. Bring more volume here and here. This part here, remember, these other toes have two phalanges. We have two volumes, different. Mini it's the same thing, but it's more short. Here just a little movement to the nail. This is the way. And it's ale bit more rotated. So let me make the guideline to the nails. One, two, and out holding out hands move to create the nail. Yeah. And now I can mark a little bit more more definite and the ficknes is more dense too. Yeah. That's okay. And the phone a little bit more, and now I can move a little bit and work with the inflate brush and move brush. Mr cure that the side and inflate a little bit border. Birds and the tips and the middle part too. Yeah. This region, the noise and remember, always the middle here, it's more inflated. It's a little bit curve. So C in the direction. It's going to the side, the direction is not straight. It's. Here. This is um standard can be to mark a little bit more. H at curve a better I forget the name. Have a better cavity. Ha cavity information. Here hold out to create the nail. Structure. Move a little bit and move just to align side of it here and move go. Also, it's working very well. Yeah. So let me see here. The destructor. Yeah, I can be here too. A, think it's good. We can have good analogy. It's working well. Let me use the flat brush to break the aspect of the mansion bring this different structure. Bit skin and no. Let me mark this part here. H a better contrast and a better cavity. Better landmark. Yeah, I think that's okay. Here creating some noise a little bit. And here we can mark the V smooth Yeah. I can mark the other side too. Remember, the V. It's marked a U, but it's a V. It's a V with a bottom part more large. And here have the V. But in this situation, it contains only on one side. The mics here will have the perfect V. This side here basically have two lines only. But it's a U. Maybe a straight. And here A V letter V. When I say V or, I'm saying about making an analogy about the letters because it's better for your mind record it. So let me add the volumes, the following volumes very calmly. And I start getting the overall structure. Here the bottom part, of course, we could increase a lot, but we will not put a lot of energy here. It's more like ones, scratch and make some movement here just landmarks, but it's not something that we're going to spend hos trying to increase in profit because it's not necessary for this model. Dividing the phalanges. Here we have three panes, panes. So remember, when we have three phalanges, we have three cuts. It's always the same structure for um anatomy. O There same thing, it's more close because it's posed and it's men. It's normal. Yeah. Here I can mark too and create this llene. This situation can be more marked. And now I'm going to return here to the top part, that's more important if not, I going to spend a long time doing some it's not too important. But energy the parts that will be more visible. It's better. Yeah. Let him use the flat, the high polish and try to remove The thickness here. Let him move. Yeah, I think it's better, and I can use this lash to create the line the mark here again. Dum standard can be mark here. The cavity, bring the contrast. Yeah. So sometimes, it's necessary do and redo the departs to get a better so. So let me see. This landmarks esome Remember, you can always use your feet as a reference. You can use your foot as a reference. It's awesome. Ask for your wife or your husband or your girlfriend or your Yeah, friend, brother, sister. I don't know. Ask them to take a photo from your feet and you can use as a reference. It's a good idea. Of course, you can find on Internet, but sometimes it's a little difficult to find on a specific and goes. But of course, we have a lot of things on our station and other platforms that you can buy the pictures, the photos reference as a package to reference to anatomy reference. Yeah. Yeah. Let me, what is it? Probably some mistake that I did, and I don't remember. Yeah. So let me more volume and remote volume here. Yeah bring this part. Some so called design, and I can repeat the same process to the other parts. So I always try to create this process. A process that you can follow very easy to apply to the other parts. For example, one line, two line, three lines, and make the noise volumes, the transition, plans volume, and then you can repeat to the other parts. It's something that it's easy to follow. It's kind of layer by layer by layer, and it's not something that you can forgot then. So Forget, then, I really recommend you try to think when you are scept and try to think to scoped something modular scoped or process. Something like that? Yes, some. Let me see. A little bit more marked here. Then we're going to refine the ends here. And feet with wrinkles in the pars. But. Let me increase here too. But it's important to work on the Let move this part, move up a little bit. It's important we have the blockage in the structure very correctly because then it's varies to increase. That's really esome. Yeah I like a let me mark here too. Let me create the lines here. One, two, three, and the bottom part two. Wow come on the brac. Let me see if it is working, Yeah, it's working. I think I can change the length size. Let me move here, this part two. That's good. Yeah. And here too. Now, then is not. No. I need to increase this It's part to make more sense yet to be better. Here too. This form here too. And this volume and design because we affect when we look from top view. Here too. Yeah. This is not it's a little strange. It seems a little smashed. Yeah, but from this angle, it's good. Let me use dumb standard and mark more. And of course, guys, it's depend of H foot. B, for example, my feet, it's a little different. It's depend on if you are doing a male or female, it's very important to the design change. Let me mark here and use the clay null and press controls and field this part here. Yeah. Oh, it's a little better. Standard lay and reduce here. Yeah. I'm sorry because when I'm fox, it's a little difficult to talk together and make other things well. Let mark here and here too. That's good. 29. Finishing the feet sculpture: And well, guys, we're going to reproduce the same hops idea to the other. Oh, my God, man. Other the same nails, sculptor work flow to the other parts of the dts. So here we're going to move. Remember, one, two, three, four lines. Let me select the stronger smooth brush. Yeah. And make the connections. And let's go the brush, come on, please. Come on, come on, come on. Yeah. We're going to make the same thing for these part. So it's a slow process, but begin. Begin to the middle part, it's very boring because if you don't have a big knowledge about the destructor of defeat, you stay You spend a lot of time doing and redoing the things and redoing the things without understanding things. It's very frustrating. I know that. But the unique way to learn, it make a lot of repetitive sculptors of feet to learn and study the anatomy of the feet and put and practice doing it. So don't or if it is your first time doing fit. Probably you will not get the good result and the good result, and you will not get a good model. You will not understand it. It's normal because if you never did I scriptor of the fit early. It's impossible you understand the things. So just write the video and try to copy. And then when you have more time, I recommend you make separated studies like, I'm going to script only the hands. I'm going to script only fit, and I'm going to study anatomy course to understand better heat. Here the ideas about the workflow. But of course, I'm showing you the fully process, but it's not an anatomy course. Here we're going to make these volumes to between the the falans of the feet. And standard with them Standard, you can mark this sport. Yeah. Let me see. Out out great part this region. And also, think about this latter part will be a challenge to make something that works. But. Let me make this other part one, two connection, C three. Tree and et me see here. Let me inflate this part here first and here too, and then we're going to hold out to create the crest part of the body. Let me fix this bottom regions here. Yeah. Yeah. Usually it's more flat because we are simulating that we are on the floor. Let me select the dum standard and hold out. Let me see here. Let me mark first here. Reforce the lines and out and create here. Yeah. Yes. It's okay. That's cool. Yeah. And it's good. So let me inflate it. Let me see. Inside parts. That's good. Let me see this bottom part. Come out the brush, please. Yeah. Thank you. Thank you so much. Let me move ale bit. Move. Let me fate at bit between the palane bones. Yeah. I moving on a little bit side of it here. That's okay. That's good. The secrets near to the roof. You make a contrast, of course, but not to intense more smotht and going out to the tip direction, you can make a better contrast and make more crest region. This give a more realistic aspect. Let me use them standard to mark side regions. This part. I mark what I go the small feet a little bit tops here. Here. And I can so you can see and create the wrinkles here and smothe that's good. That's good. That's good. So same That's cool. And I want to make the final. Yeah. Here, one, two, three, four. And let me is move. This part can move or is the high polish, but it can move here and inflate this part. Yeah. This top bottom pill not top. That's okay. Let me see. Yeah. Dumb standard, mark more Mark a little bit more. The direction, a different direction. Let me see. Yeah. I think about the htopolgy, probably. We'll need to open the fingers. To make the b. Yeah. Contrast cavity here. Curve, and hold out, smooth and inflate the nail a little bit, the deep part, the barred part. And I can mark ale bit more this part here. Smooth. Yeah, and create this effect here. The wrinkles, large wrinkles. Digital Mini. We have, of course, trip ins, but it seems that we have two. So it's not necessary. You spend a long time. And, guys, I think is it? Oh, no, make the tendons. Let me make the tendons here, mark a little bit more hoops. And let me create something more. It's a flat part. I am creating two lines and then move to give this effect. Move. Same thing with this guy here. That cos Let me see. M one. Let me so a little bit more here. Smooth n. The wrinkles, create some effect. I think this part will not appear, but if I try to make it that appears, will be done. I'll create some wrinkles here. Inflate. Use the inflate to create the nice idea. It's kind of a nice idea. And let me fix this word here to to finish lad this region to work better here on this corner part of the nail. Yeah. So create some nos here. And hopes Mark to bring the Nao to give to give to the Nao more visibility. Yeah. So and now let me move. And let me mark more here. How are you going to see not make perfectly the corner. These give a unique effect unique visual. It's so cool and it's better to the topology. He me fl here. This part And it's not necessary to refine a lot, too. Yeah. Here, remember, it's on floor. And I think is it. Let me see here. Yeah. Is it, guys, see you in the next video. 30. Detailing the Hand: Well, guys, we are using the CG sphere scheme kit. It's very good, and we're going to use this kit to make the details of the hands and feet too. Of course, you can make some download for free of other packs. The idea in the pipeline, it's the same. Continuing here, Let's start. I have created a layer to make the wrinkles the base, the wrinkles, the veins. It's the same idea, same structure that we have done on the body skin. Basically now it's blocking part by part. And we can enjoy the process. So don't have mystery. Basically how I say you. I like to work with layers, and of course, the structure of the dcptor need to be very good and have a variation. So if we're going to try to make it on smooth surfacing is not so good. We need to have the volumes, the cavities, the variation of the displacement, the volumes. So then, basically, what I am doing now, add the office. But to get a good result, it's trebly important we have a good sculptor before we try to add the details. So here I'm doing it on the dorsal part of the hand. So let me see. Of course, here I'm doing a little bit more more fast and generic But when we are working with game, of course, we need to make the things very clear and good when I say plain and clear, it's about the design. Keep organize it. But here how you can see some alpha parts are affecting the nails, but no problem. Let me use the morph here target to remove this part and make the clean up. This is the secret we can make very common. And how you can see, I did only on the dorsal part, the palm part, I didn't it for now because our different structure of the skin. It's extremely important to you understand it. Let me reorce here this region this side. I could work with poly groups. But it's okay, the space here it's enough. How I say you guys e people have your own pipeline work flow. Maybe you're going to work different, the pipeline, but the result will be the same. No problem. Maybe you work more fast. But if you get the same result, the same equality, no problem. Just keep doing it. So, the door sports. L et me see here, use the morph to remove the affected part on the nail. Yeah, it's enough. A awesome. Let me create the other layer. Why are we going to make the wrinkles? Let me rename he nkles. I always type Ringos. It's because it's a we confuse it, but it's okay. Try to imagine you learn other language and teach treaty. So it's not so easy, but it's very possible, and it's a way to help other people too. You need shay knowledge, you guys. Show your knowledge. Now I'm marking more strong this region reforcing, and take care to not make the exactly design for all the parts. I'm doing three here, three horizontal lines, but are not exactly the same. So I need to make some different structures, so the deposition it's different. Basically just follow the landmarks that I have done before on the kuptor process. How you can see now, I did a little more move that, reduce it, not to mark it, and here the mini, I'm going to make the same thing, and it's okay also. The co part is, if I want, I can control it, reduce the intensity. But remember, how I say D. Here the V part, how I say D, we're going to miss a lot of information during the bake process. So it's extremely important to define at the parts. So here to This part need the digital information, the wrinkles in parts too, but that's okay palm part. Let me see this part here and here and here. Refine two lines. You can see it to create the wrinkles. It's kind of fold. Folds. And here too, Yeah, Let me add the veins then it. Let me see more. Yeah, good result, but let me mark a little bit more. Let remove here. Let me inflate and bring more contrast on this part here. More volume, little volumes. It's kind of veins, but let me create a new layer here first. So how you can see it's a good approach to make these things. Uh, I call call that make the veins early, but I think now I have more control. It's better because if I want to change the direction or the intensity, I can. And if I make the veins, before to wrinkle and debase details with Alpha, to change the direction, change their direction will be very difficult. Yeah. That's cool. Let me see here. I forget that you can't see my other screen. But I am working with two screens. It's very good always. And, now, let me see here. We're going to add more details. Why are we going to. Come on. Let's go ph. I'm with total points 26 millions of polygon. Of course, here, the and it's isolated, but now I'm going to work on the palm part. I think I co do that early on the base process. But well, no problem now. The question that I need to create other layers and now I'm mixing with the veins, for example, so I need to create other layers. But this part, I called I called M ly. Could that have been done early. Very early. But it's okay, no problem. Let me adhere to this part. Then I can work with the Alpha the morph. This part it's not difficult, but usually in this pump part, we have more lines and little cuts. So it's not so intense, for example, like the doors part, but that's here I can force a bit. Remember, we have the digital on the tips of the finger. On finger tips. So let me reduce intensity here. And that's okay. For now, that's okay, guys. Let me see here, reduce defense. Red I would like to make ints, but it's not possible. Let me reduce 2.5. And is it? It's enough. 31. Detailing the Feet: Well, guys, are going to create a layer base one here to the feet, and I'm going to repeat the process that I have done to the hops. Let me select the direct. And I'm going to re repeat the process that I have done to the hands. So we're going to use the pack, C G. Your Alphas. But you can search on the Internet for fed skin or Alphas for free, if you want, have a lot of stuffs of that. And basically, we're going to make the same thing. Layer one base. Then we're going to create the wrinkles and the fans and is it? Remember, I going to work on the more viable part in the inferior part to touch the floor. I will not da it a lot because it's not necessary for this character. So L et me test here. These other off reduced intensity. I'm going to reduce the intensity here. Mark feel better the feeling, but of course, I could work on the intensity then because that I'm using layer by well. Yeah. Let me see. I think now it's better. We have the X Y Z offs, s placement maps, a lot of cool maps that it can be very, very useful too. But in this case, I'm going to make something more more Rando Rando and stuff. So basically, I'm going to make for all parts of the feet, top part here, do so part and ankles. And then I go to break a little bit with other parts, but Yeah it's going well. I enjoy. Let me see this connection. We code maybe for example, other approach of the work fluids, open the V, and add Ando map, for example, with the DV one because it will fit at automatically on the feet. On the foot. But I think this way here I have a lot of more work. Basically, I have a more work doing it. But the result seems more artistic. It's different. It's not something random. It's not something that you look, a random stuff. And no, you can feel the artistic feeling. So this is the secret to make different characters and not something that you look, a base match with some pas. No, it's different. Yeah. This part here too. Of course, the details when we look to the two our own toes are own fit. We can see that it's not too intense. The intensity is different. But remember, always when you're going to work with games, you need to make these things visible. Because when we look for our own fit, we have a lot of information of light, skin, a lot of things, veins, bloat. So in treaty is different. It's not the same thing, for example, when you can make Well, for good too. L et me see the morph. Forgot to activate the morph target. Well, it's different because in three D, basically, it's the real but at the same time, you need to make some fake stuffs. So let me see how I can fix it handily. I can just move the sport cause I forget to I forgot to activate the morph. Brush. So y. No problem. It's just a simple thing to fix. But remember, take care about the work flow always. Here I'm making something more generic, but usually this is the wrinkles and I want to make the wrinkles now. K. And so you can see that we basically, when we make the wrinkles parts and all these things, we lost a lot of information of volume. So it's extremely strely important you force it a little bit more. The same situation is when we're going to make the bake of the normal map into the substance painter. We're going to lost a lot of information. So because that it's better you force a little bit the informations. Mark here a little bit. This part. It's good it's enough. Here too. Create this variation a little bit only. Yeah, these divisions. Mark a little bit more here too. Mark things to have more information. Here too, mark a little bit more middle. This port and here too. And here too. Basically, it refers a little bit. This is the part that a lot of people don't like to do, but it's necessary. This is the secret to give a different feeling to the character. You can have a better design. And here to this part. Remember, you can look for your toes and you're going to see that have this information. And here. Yeah, I think it's enough for the game workflow, this character workflow. S. Reduce the intensity here and Mark create a little more of information. Of course, we could increase it a lot, but probably going to make some letters, some clothes on it, involving it. So make sense. We spend a long time. But of course, I'm doing the basic things just to have organize that because if I change, if I decide to make other design to the character without the clothes, the fit will be done. So this is the secret. We have the mesh and the hypo done, and no matter the salut or the cloths, but the anatomy it's done. So this is the secret. To not lost time doing and redoing things. Yeah. I think Zi guys and see in the next video. 32. Making The Central Leather: Done was apply zero measure for the parts. And now here, I ied something more on this way, not something perfectly, but I'm going to try to use it. I'm going to press control de Control D to subdivide this plane. And I can work with masks or in some parts. I can create poly group. Here I'm going to try to deform to create the latter effect and bring something that makes sense here. It's more my own design, some creative thing. I can use the masks here and let me see a little bit here too. And let me see. Control W to create a poly group, and I can hidden this parts now. And I can do it. Let me do the lower subdivision, D den. Apply zero measure. No. Let me active do M Let's go on Half. Now health and polyp keep groups here to make cure that and reduce this move 2.5. Now we're going to have a better result. Yeah. I think can be. Let me delete this point here hidden. Let me see. I can work a little bit on the devise of the design side ate here, increase at bit. Of course, we have a lot of other options to make clear and all these things, but handy, usually, I like to produce grate on this way here. Spend more time. Creating the deeps here, more graze at it. I think it's crazy can be more C C name, I think. Let me increase a little bit on this part here too. Here it's more about the design. It's not like follow the same thing. No, find a good design for your own character. I think the structure is going well I need to refine it. Let me see this support. Let me crease this patern of symmetry, make more not to curve. No to circular s. Break a circular shape. Yeah. This way here too. That's okay. Let me see. M here. So basically here need the ideas and explore a bit. That's okay. Can apply the zero measure again, but no, with deform. Let me reduce this move and apply zero measure to organize the polygons. Let me move a little bit more. This rope well to add then to. This part here same thing. Basically what I did was apply the zero measure and work with a plane only and now I can deform a little bit to create this effect. This back p break a little bit symmetry. Control D three subdivisions, and what are going to do, it's the same thing, work make the masks, make some masks here, and then create the polygropes, and delete to create this effect I think can be see more S. Well, scratch, I think, to create this scratch letter effect. Press control control on the front parts too. Let me see. Did lower first, supervision, hidden, and remove to polygons floating here. Loss. So remove this part here too. So take care about this part if you want. You can activate the double. Let me do. Because it's so important to make a cleanup very organize that here. Let me apply this measure again. Because sometimes we forgot to forgot to delete the other part and it can bring some crashes and problems when we're going to export or make the bake maps. During the turn process. So here I am looking for some settings with zero measure, we don't have a specific setting. For each project for each character, for each model, we need test, zero measure, keep groups, half options, legacy. So it's not a role. You make the same thing same things that I am doing. So it's interally important to you test your settings. Here, let me create this shape more conical effect here, more chic shape in that two is smooth head or curved. So, something more pointed, better. We have this visual. It's organized and more interesting. So Let me see. Better. Center part here two. How you can see I'm just moving the deep sport and not out the model. That's work. Let me a reduce this move groups and apply the measure, organize the polygons. And for now, I'm working only with a plane only without the thickness without the extrude, then I'm going to extrude it. So now I'm basically refining that we have created. So basically it for now and define the shape. Here are going to make the same thing. This back part try to bring. So Let me see or point that ic effect. Here to smof a little bit the sport the nelsar. I need to hit it. I need to hit in it. Of. Let me move. Let me pull it a little bit, ya. Oh, yeah, well, we need to just make some jokes a little bit. It's the life, and it's mile and be happy. So now I have subdivided outs, and I'm going to make the polygropes, again. I'm going to make the masks. I going to make this scratch add effect again. Try to find this scratch ad effect. This part here, how it's more large, bigger than the others. I need to try to make something more big to. Now turn of the symmetry to create this asymmetrical effect. Let see. You can just pint. It's kind of pint making the masks. So these things that I feel better here in the brush than blender to scuptor. I don't know why, but I feel that it's better the algorithm yet. Of course, I work with blender a lot and I love it. But I confess you that yet I prefer the brush to scuptor. Here I have use the glop to create this effect organize, more clean, and now I can move to bring the tips more ic, the tips more pointed, so I can increase it. It's some other option that you can work. And then we're going to use this maser again. So don't worry. And here, the secret is it. It's work very commonly only on the tips part. Don't try to pull out the mesh, for example, reduce your draw size and try to work focus on the small parts only. Let him remove here control shaft and the. This part hidden. Now I'm going to create this conic shape to and the other part here too. How you can say I'm not doing it symmetrical. I'm doing asymmetric because I can have a better organization. So let me see here, ya. L et me move this part, so a little bit. Yeah, that's cool. Let me go to zero measure here. Now. It's good. That's. It works. So a little bit sport. Let's go. S Now let me work on the frontal part here too, and I'm going to make the same thing, control control the control and the lower end paint, make the masks to create the scratch scratch effect. And turn off symmetry and make it to create this asymmetrical effect. It is very interesting and give us a better vise two. Mask by border, to create the border from the the mask, D hidden, and we have this shape here. So awesome very helpful. And now I can move to create the ic deep. Let me go to measure. Yeah. The measure first. I don't know. Seems that I seem just a polygon floating. Separate that very well. Yeah. That's okay. Yes, Seems that have polygon by here. Yeah. Well, let me see. This port two. I think it's enough for now. The next video, we're going to continue. Yeah. This shape here a bit and that's that's okay for now. 33. Organazing Torso Clothes: And continue here, guys, what are I going to do now, increase the subdivisions and work a little bit on the fold. The form a little bit can be with the standard brush and just create some fold here just to break a little bit this flat part. Here for this first, Let me see the correct word for this, this first this first part here, the other parts can be a little more solid. The leather that other material. Seems like other material, not that. Here we can create some do landmarks here and play a little bit. To break the flat part for this mesh specific. How you can see I have the top part basically was created by Taurus, like a simple Taurus and placed two Taurus there. So yeah. That's okay. I think it's uh, almost enough. Let me use the cloth brush here. But yeah, you have a lot of free cloth brush, but I confess you that usually, I work with standard brush, them standard b cracks. And basically. But sometimes I like to test other brush created by other artists. But I confess that it's depend a lot for realistic things, it's not so important. You can create default effect just using the standard brush front Z brush. So here let mark a little bit, break this flat part, but it's a solid ladder here on this part, so It's more hard material here than the frontal material. So the idea here is not to make something too flexible, for example. And this guy here same thing, so not add a lot of, not too soft, a more hard. Yeah just need to play with the elements. And repeat, repeat, repeat the process. Basically this is the word flow that I'm using for it. Of course, you can simulate a bit the physical, it's the ropes are it's mesh. The letter. So to simulate this squeeze effect, this ting effect. Squeezing. I here I'm creating some variations. Go to the latter. This process, it's a very slow process because you need to make it comely and don't have the way, for example, when you're going to work with clothes, we have the option to work with marvelous design, but no matter because marvelous design will give a correctly physical, but usually I use marvelous designs for more sternly realist orators in this situation, I think my opinion is not necessary. But no matter because then you have the marvelous design model. De. You need polish it into into the Zbrush. No matter we don't have today. We don't have softwares that to generate clothes that are finished. For example, are already done to use in the on the artors. Always we will need to make the fold or define the fold or make a clean up to mesh. We don't have other way. This is the life. The secret, you can study. From real reference. For example, like the curtsusl, the cartes, from your own house, You can use You can use reference for your own clothes. For example, band shirt, T shirts, Well, basically. W is specific cloth, you can use reference from Internet from Google. But the secret, it make it very comely. The same process that we have used for the hands and feet scuptor and details. This is the secret. And working calmly and repeat the forming the parts. Yeah, I like this part. Of course, the model will be better when we have, let me delete some divisions, and maybe I can create this show affect the thickness here Panalp one. 16, Panos, the thickness increase a little bit, and I have this formation. Yeah. And the final result, the good result will be done when we're going to make the tpology, and the bakes and I can use the reconstruct to bring the subdivisions. When we're going to make the tesor of the tattoos and the hair, we're going to use alphas and all these things. So this is the first stage. We have a lot of other things to do yet. So it's normal. So yeah, that's good. Here we're going to make the same thing. Reduce the level 20, polish 20, elevation negative, loop 16, and the thickness increase a little bit more 0.1. Yeah. And reduce a b to the thickness, more or less, something like that. I can reconstruct the subdivisions. Let me see here. Let me see well. Yeah, I press Cont Z Z. Oh, I don't have subdivisions here, so that makes sense. I t to reconstruct So Yeah, I contra contradicted three times. The lower Panalps. And now I can reconstruct subdivisions. But before I was not possible because I didn't subdivision in mesh. So of course. So here is different. I have deleted. Now let me reduce the pools and Bavel, the elevation to negative 116 loops and pain loops. Let me click on it, me increase to 0.01 foe, reduce a little bit. 12 12. Yeah. So I'm testing yet. Yeah, I think it's okay. The thickness is not too big. Yeah, Let me reconstruct subdivisions. It's better because if I need change deal the detrut with using the move. It's easy. Here we're going to repeat the process, reduce to zero pulse bevel, elevation negative 100, thickness 0.9, 0.0, I think no two increase zero n, and recon the subdivisions. Yeah. Now I have slip. The elevation positive because I would like to change the direction of the thickness, for example. Make it to the direction of the character, for example. That's okay. That's. Let me re a bit, some parts. Oh, I have this mistake here. Tru z, contro z, contro z. Well, Yeah, I have a little here. Little mesh here. Oh. Here are you. Let me delete the hidden and make the same process pin and reconstruct the mesh. But now the quest Let me publish a little bit. But the Let me see if the reconstruct will work because I've changed the final mesh. No, it's not possible because, I I need to remove this part No, Yeah. Let me do here and remove it, and then I need reforce it lower de hidden and press control dits subdivide again. Let me organize the things again. So I say to you, how is this little things always take time and any mistake on this process while we're going to scope and work with this workflow. It's very complicated. We need pay attention about that on it because this workflow is not so easy to follow. So if we don't pay attention on it, we're going to have some problems in the next steps. So Well, but it's a life, it's normal. We are real humans and not artificial intelligence. We are not an A AI, so it's normal. We make mistakes. So let me see if I have some other mashes here that are not so visible. Of course, I'm subdivision yet. I need the litate. And the lower and now we work again with Panalp have some mash here that are not visible. Where are you, my friend? Where are you? Where are you? Come on. Let me polish it remove the tips. And apply the pano. Sometimes you're going to lost time. It's not lost time. It's a normal the process sometimes take more time. Panop reconstruct subdivision. Now has work. Finally. It's okay. It's normal. It's good. Yeah. So let's work as well, thickness, the general informations. So, let me turn off the double just to check if all the mash are not inverted. We are not filipt. The normals are not filipt. So because of that, I turn off double option. Yeah. Well, well done. 34. Finishing Torso Clothes: Well, guys, now what I'm going to do open the UV here. Let me make a clone first of this mesh, and I'm going to open the UV automatically UV because we can work with some Alpha noise Alphas automatically, so it's better. Let me activate the poly groups and make and wrap. Now let me copy you this. Let me first play it flatten. Yeah, I did enough for what we want. So now let me go to the plug in again and flatten. And here, let me copy UVs and return to the hight poly. Here with final subdivisions and pass D UV. This is so cool because since I have no matter if I have subdivisions or not, I can pass. So now I have the g subdivision with the UV net. So basically what the rap did was was took my low subdivision subdivision one and make a copy and open opened it, and then we passed it in the in the bit division. Now I can work with Nice, select some Alphas, resource can be tiable. Here about cloths. Later, I have a lot of options pattern letter. And here, let me recenter and suit to U V in that three D, and now I can make some changes. Let me sect to hear this other option and change this noise scale. Alpha settings. No, this guy here this Alpha. I'm not so happy to think that. It's not so cool. Let me see here, Let me use other Alpha. This latter part. Pattern 04 here, maybe we'll be better. Yeah, I think yes, we work better. It's a good way to make automatically and sometimes it's for what we want. We could apply this effect in the substance painter. Do good, well. It's okay here. So we have different approach. We can make the hypo, we flat mash without without the details, and then we can apply it into the substance painter, the final det a good approach too. I co this noise surface, and I can replace, I can pass it into the other later meshes. Yeah. Let me apply to mesh. Calculating recalculated move V. And yes, it's done. It's enough. Let me see. And the morph here. First, me start recording, me acti store, and let me Let me see here. Et me remember here it the Where are you? No. Let me create a layer here. Yeah. And let me set the base and I go to refor some part here with the surface. Let me d. And increase it a lot to have a better contrast because now when I going to apply it to the match, we're going to have a better quality. B how is that we apply to the match how we don't have a high resolution. This process make more smooth it. The better way, it's in a bit, make more st the Alpha. Now I can use the clay and break some parts here. L et me reduce the intensity and break this this parts here. To make more more natural, of course, Same thing on this part. To make this latter effect. Let me use the pres of the tablet here. That's. That's more interesting. Yeah, Let me force a little bit more some parts to have a more contrast with standard brush. Yeah. And let me see here. Light box, O brush, let me select this. That the this lash one. And create some lon marks. It's, tot. Let me see the layer, create a new layer because then if necessary, can reduce the intensity. Let me make the damage. I reduced intensity a little bit. And can create this effect here random effect. Yeah. So yeah. And of course, guys here, I make it more fast, so make it very commonly, if you want, don't worry about that. It's more to bring this letter effect here. Yeah. So that's cool. And can create a little bit this variation here. Yeah. No, let me see. Yeah, break the borders a little bit, create more It's a little difficult because it's hard, but at the same time, it's organic. When I say organic, it's di visual. So it's very complex. But the idea here to make something more natural. I think the correct word would be natural. So yeah, L et's go. Let me see here the surface in noise. And let me copy it. And let me pass it. But of course, I need it open the UV. First, O's a nerve. Yeah, work on clone and wrap Flatten. Yeah, no worry about if it's good or not dt and automatically just to be possible, make this pipeline this work flow. So let me pass here now. The plug in past is. Now I can active the noise and past. Let me copy first to Copy the noise. Act past. Yeah. That's. Now I need to refer it to strength, increase a little bit more. Plight the mesh. We're going to lost a little bit of details. Because the mesh, it's more's move head. Let me see here. What we can do it Move a bit, the sport. Yeah. I like it. Yeah. Let me work at well. Now just I need to make some damage here. Let me create a new layer. Rename First, let activity, and then I'm going to create the layer because then if necessary can work with that. Let me set damage here. Basically, what I'm going to do make the same process. Creating these lines and then I can remove the astro parts. So this is the secret to become a great artist, it's make the correctly things and calmly. Of course, here we are doing a Qs. Yeah, that's good. We are doing a course, so it's not possible, for example, make the things perfectly. But always remember that, if you're going to make a character for a company or freelance or anything, give your best, try to make things calmly and not try to rush with that because if you try to rush with that, probably, you're going to become a bad artist, and you will not can find jobs. Maybe one freelance work or one work you can get. But then probably the company will not we will not sign a new contract with you. So how will you remember that. So yeah, it's cool. It's good. Yeah. I'm thinking about the topology then when I need to do that. Yeah. What about to do life. So remove this part a little bit here too. Yeah. That's going well. Break a little bit the borders. To bring a more natural aspect. Here. Here too. And making this random damage here. Yeah. It's okay. Let me see here. It's here. Well. Of course, I need to turn off the noise. But let me see here the base. Can be this one. Yeah, it's good. Then I can apply the noise again. Why do we make the same thing here? Open DuV and repeat the process, repeat, repeat, repeat. And this is the workflow. So this are things that AI AI. Of course, for now. I don't know. Maybe in the future, they will be able to do these things. But for now, AI can't do that. But the question about AI, it's very complicated because AI can learn everything. So I believe in the future, we're going to in a moment that AI will be very, very smart. But I sincerely hope that I am not alive because we'll be not happy. A lot of guys will lose your jobs, your job. Yeah, your jobs, and we'll be not good. For now, I believe that we are near of that, but I don't know, maybe then 50 years, 40 years, maybe will be possible. So let me make the same process here. Damage and make out the landmarks. The big problem here, guys, is that when we are doing it, we want to make these things very fast. Because of a repetitive process. We try to make the things very fast because sometimes we make bad design. The secret when you are doing Of course, here I'm doing more fast because it's a curse, but if you are doing it, make very calmly. Into I studio, make the things fast, but with a bad equality, usually it's not a good option, and it's not a good strategy. Maybe if you try to do that every time, probably you're going to go fired. So take care about that. L et me create a layer here. Yeah, it's not necessary. Let me rename it to base. Was inverted. Let me refer some parts here. Usually this base. I needed to make early before the damage but no problem. F now, no problem. Basically what I'm doing it refor the contrast. And I'm going to repeat the process with this or here too. The plug clone, work on clone, CV and pass on the hypo. Pasti Vs, ps base. Let me first go to Mr. Let me see here. Now I can clean the Ts and psst Mr target store. Now layer. Let me see. Let me in create subdivision first, of course, and let me apply the noise. Best. Okay, p k. Apply to mesh. That's good. Let me go to it and force a little bit more. Yeah, now it's better. But when we want to apply the mash, we lost intensity, so no matter. Other way to reorce it would be work on the cavity and the masks, but I think that it's not necessary for this character, it's It's o here. Let me create the damage, and I'm going to repeat the process for this guy here. And for this dorsal ladder, the central ladder, we are almost there. Then we're going to move on to the lower arm and lower leg. So now let me et's see. For real disk is different. Usually, we need to make all these little details and stylize that it's a little more optimize. It's not so necessary. So let me cut this part here and here. Created this effect. M's king like that. So yeah, These landmarks here and this other side. Yeah. Same thing here, and this part here too. To the same thing. And, guys, for now is it. 35. Making the Arm Clothes: Guys, continue here. I have applied zero measure for this part, and then we're going to make one side only, and then we can use the mirror. Well, we're going to try to follow something like this like in this reference. It is not desired to be perfectly and exactly like that, but we can try to follow it and adapt. Now, I think the in the structure, then we can increase it. Let me see this part here. Let me check more or less this way because then I going to keep a un plane only. Then I can use planps to have the thickness. And let me work with a ring three D to create, it's a ring. Basically create this ring the add the ropes and try to simulate the ropes, but I don't know if I'm going to if I go to make ropes or let me see, here. Let me remove some loops. Or we can we can make It's not fine It's kind of t I don't remember the name let me think about that. It's kind of It's kind of plant. It's the same effect of the vine plant, something like that. I don't remember the correct name. I don't know if have name. It's vie plan vine plant, something like that. But because that they're going to keep only cylindrical shape. And then when we're going to make the tissure and substance painter, we can decide if we're going to make the rope effect or would affect like vine plant visual, something like that. I don't know yet. So there we can play a little bit of that. So let me pose here this first process, it's a very slow process because until we get the the correctly proportion volumes, and shapes, it will take a time this first moment. So let me duplicate it and how you can see, I don't have exactly exactly the same position and size, but I am trying to adapt it and make something that works. This is the three Dartt works where we need to adapt it and try to create that have a good. But in this first moment, just blocking at the primitive forms It's very very normal. So let me scale here a little bit. And of course, we can change then if necessary. Yeah. So, Let me see this other part, and I can add other ring and where are you? Oh here. And with this ring here, I can start simulating the I'm going to say rope ro ro ropes. But then in the tit process, I'm going to decide what material I going to try to represent with the cylindrical this cylindrical shapes ring shapes. So now I can move a little bit, try to adapt, then I need to. Try to adapt the physical tune. Here is a little more Hard process in the beginning because we need to apply this feeling of the ph this effect of this mashing and because we don't have physical to represent it. So basically, I'm going to try to organize the sport. Let me see here. I can duplicate and try to find a design that makes sense now. So I'm going to duplicate it again and I'm going to try to to find the better the bed design. So how I say to you guys, this process, it is low k. So don't have other way. So yeah, I let him marry merging in it and try to the picto it. So yeah, So, Let me adapt it. And I'm testing yet. So this first process is it. We need to test and test. And this part, how we don't have the letter yet, the final, with the with the details. It's a more frustrating because we need to move from one side and move again, do and redo and to to say for our brain that this is the way we need continue making the change until we get a good visual and try to find something that made sense. So no matter if you have a good concept, the concept it's just di a direction for us. It's kind of guideline. But this no means that we're going to have the final rest very good because sometimes the concept it's In the concept works very well, the model and the idea, for example. But when we're going to apply it on tree it's very different. So this is the hard process that we need to do. It's basically try to figure out the concept, basically is it, and sometimes we're going to spend a long time doing a simple thing. Usually, Parts that are that are simple, will take more time. Every project that you look and say, Oh, it's very simple, and I'm going to make it very fast. 30 minutes, I have done it. So probably You will take some days to do that because it's very some parts are very frustrating because it's a repetitive process, and you don't have exactly idea about what you're doing. You can see the concept, of course, but sometimes your brain don't understand the shapes and the form. So you need make a lot of tests until you find something that works very well. And it's normal. The situation, it's the same here. I am copying the sense of the concept, trying to adapt it and bring our TD model. But this is not means that we're going to have a good result. To get a good result, we need to make a lot of modifications, change a lot of things, make a lot of tweaks and try to find a good visual. For example, this This part that that is this part that not appears in the concept. It's more difficult. We need to try to figure out it. So we don't have a reference. Some concepts, we're going to have a reference, O concepts, no, so this is the question. So we need to have an equilibrium about it. So on AI, so this is the question. But it's going well. Go to have a great result then. So here I'm changing a little bit, breaking the perfectly rings to try to bring physical idea and simulate some pressure here, some crushing, some smashing effect, and something that fits very well and have a good communication, a good flow pit and then. So me see So this is extremely important, guys, because a lot of other instructors or other schools, I don't like because they basically teach you how you copy something and only it. And when you're going to work into a studio, you're going to have a lot of challenges. The concepts will be different. You will need to create some things without reference, you will need find some way that works, that works. Yeah. So it's different. The life is not easy, but you need to make the things. So when you learn On a wrong way. It's very bad because you think that the model, for example, this model, it's okay. But when you're going to work into a studio, they will say no, this is so bad. The quality is not good. We need a better quality. And but you learned with bad curse that it's enough. It's just make character and let. No, you need to have telling uh, it's kind of yeah, tele storing, something like that. The hands need to be very good, the other parts of the body, the flow, the cloths, all this is important. So some guys just make some strong character or props that the quality is not accepted by the industry. So don't follow this way. It's very bad. The quality is extremely strongly important, and if you're going to make a portfolio to apply to jobs and all these things, quality, it's sremly necessary and you need to have a quality that the industry require. So this is the question. Today, we have a lot of guys teaching some things that are very bad. This is the correct way, and we'll not use that into a studio. So you need think about that. Don't make it. Don't Don't follow bad artists with bad qualities. If the RTs teach very well blender or the brush software, that's okay. But you can see art, for example, and check if the quality of the characters or the assets or the t turn is good. And if it's not good, don't follow this guy. Just learn with hin, of course, about the software specific for example, how I can use the extrude blender. That's a cool. That's okay. But, how to make characters. Don't follow this guy because it's not a good idea. Probably you're going to have some lessons that you learn some some wrong things. And this is not good because then you're going to try to apply to get a job or make an interview, and probably you're going to feel so much. So try to avoid it. Follow guys that have artistic feeling, artist invisal very good. And of course, with experience. A lot of guys say, Oh, I work a for XYZ companies. But what companies? Let me say names, what projects? What characters you have done? Just two, three characters very bad, with bad proportions that don't have an artistic feeling. So no way, man. Thank you, but let me follow other other road of their way of their path. And yeah, continue here, are you seeing? I am spend a long time just trying to organize these elements here. And basically, then I find structure. I can duplicate that and and make some movements to break the perfect flow or repetitive flow. So It's good strategy. Let me do he then. Now I'm going to cut in this middle part. Yeah, in this middle part here. And close holes. Now I'm going to try to make this top part e see here. Let me I think I can connect with a good topology, these parts here. Let me think I can adapt it. Let me here. I'm going to try to adapt to simulate that I have two ropes involving the ring. So I have one, two, three, rope zero. What I can do to make this one, define very well, and then I can duplicate to reproduce the other parts and part that it's more near of the hand. Let me apply zero measure. Let me try to make a fake note. A So let me see here. And here. So, something like that. T close hos again. Polish it And let him make a mask less. And I can try to rotate a little bit. This party here, just to make the node. Yeah, it simulate a node effect of the mask. Yeah, something like that. Yeah. It's this is more to simulate to simulate this, no defect. It's not necessary. Ma a perfectly node here. So you're going to make the same thing. How I say, this is the It's a little bit more frustrating this part because it's repetitive, but it is necessary and here. Let me see. This mo bit set it two the ring, give it a better aspect, physical simulation. And let me polish. And Yeah, I think that it's good. Let me move a little bit. And I think I can duplicate that. Yeah, that's good. L et me duplicate that and just move the positions to adapt and fit better the tips of the being this transition the nodes connecting the ring. So. L et me invert here this mask and move do the sport a little bit. Of course, then we're going to make the fault of the later to increase this visual and simulate batter the physical. But this first moment, I'm trying just to figure out this part of the ropes because it's most important this first moment. For me, I think that it's better because then the later will be more easy. The later basically will be the same workflow that we have used to make the depart. Basically, I can cop the surface. And pass. We'll be the same or flow, same. Yeah. That's good. Let me see here, the sport. So I've duplicated their rope. And I'm going to move out sport polish to keep better organization of the polygons. This pools by feature, it's the smooth poly not smooth groups. It's the smooth shading of the blender thing that for the polygons to keep batter regization of the normal normals of the polygons. And the Ma, I think it's smooth, normal, something like that. That's good here. Yeah, Let me see here. The partar. Here, I think part it on the other rope. So let me try to define bet here. T So O the way would be I make a mistake here. I ten DV of just one ring here and then duplicate because UV will be up net. So now, but I need to make the topology. So I don't know yet if I'm going to make it separated or together. Probably separated. So, I need to think about that. This part, I think we're going to make together with the or not maybe more polygons. Then the second course, we're going to see how we're going to fix it. But probably we'll take more polygons, still have a better definition. We're going to make this rope one by one. Yeah. Probably. And make a tattoo. Tattoo, tattoo, tattoo. On shoulder and the arm will be very cool. Now I have duplicate that and I'm going to set it on the bottom part, how I say you. Here. Yeah. And basically, here you can deal hidden and I have only two ropes here. And I'm going to just pose I've scaled it and then inflated. So now L et me pause it to finish this blockage. Yeah. Pause more or less this way. And here to and on this part to here. Polish feature So let me see this other part. Yeah. Let me move on the other part here. And let me make this connection with the move the and Let me see. Yeah. So let me in this one and let me move this other part here on the other ropes to And let me move. Do a little bit. Move up. This part here, it's on the other ropes. And Let me see here. Yeah, I think that's okay. For this first moment, it's enough. Let me polish it a little bit. I think that's okay for me. That's good. That it's enough. Yeah. This first blockage and the next video going to refine this part. Is it guys see the next video? 36. Detailing Arm Leather: And continue here, guys, I have Marge, the rings that now are ropes, and we become vine plant, something like that. Vine plant, it's kind of Wo aspect, maybe. I don't know yet. Let me start making here the letter. We're going to use the modular to delete this polygon here to create this Silet the concept, like the concept. And it's the same and repetitive process. All that we are doing here. We're going to make the same workflow and approach. We're going to make on the lower leg process. So we'll be the exactly the same thing. We're going to make the ropes and try to adapt to the things. So Here I'm t to create this space and figure out some parts, fix some parts here. Let me move the It's not fore arm, I think, fore arm. Let me don't remember the correct name. Yeah, it's the fore arm and not lower arm. It's the fore arm. Let me adopt it calmly. That's okay. That's enough. And continue. I'm going to try to find something that works for hand sign. So, can be here a bit in this part. And you need I have chains guys. You can see sometimes I move vertex by vertex, point by point, how it's colored here in brush. But this is the secret, make things come. If you try to run with that, probably, you're going to get a bad result. Yeah, the shape of shape, it's okay. And just to remind you then we're going to apply the mirror and duplicate it. Be that, I am doing just to the right arm. No. Let break a little bit perfectly shape, and I'm creating the division here like the concept you can see have one, two, three, three, 24 subdivisions. T24 subdivisions, from the vi front of view. So let me see here I can X route. We're going to use the panales, same the same work flow. So now, let me created the variation, and they're going to make the. So let me break the sports. And that's okay for now. Working very commonly. Now I can use standard brush. Let me see. Scan the K or it can be the crack or it can be standard bruh, no matter. Now let me try to create this effect and break this flat by and now apply the physical element. It's this crushing effect this mashing. Now depressor that the ropes make on the letter. This is a repetitive process. And I'm going to make calmly. Here the same thing. Working calmly. How you can see, I don't have a reference for this thing, exactly. It's more memory visual memory because in my mind. I remember some strips that I have involved on my arm, belt effect, other reference of other characters, moves, and other pictures. So how it is important you bring for this moment. This is the question, how I say you. We don't have every the references perfectly and we can just follow it no. Sometimes we need. Understand the things. Well, we are Let me see this part here. We are tying up the ropes We tie the ropes. How it will How it will behave, for example, how is the structure? We have a p here. We have a crushing mash mash effect. We need to try to adapt it and bring it to the model. Let me make here too. This part. Then basically what we can do is just copy the letter, and past the that we have created surface. So how I say the sens is make the basic blockage, the basic structure very well done. If we make it very well, have a good feeling, the approach, the next steps will be very easy. This is the question the things very organized And the rest, the other part will be very easy. So oh, my God, have some nice nic car. At the street there, so it's very frustrating but well. Have some things that I can avoid, so I don't have power to do that. Now, I say using the Panalps, same workflow, and I reconstruct supervision, and the p, and make the rap. Of. We have this good feeling here. So now, let me open DV with this UV Master work on clone Polygrops, and wrap. And now I can just flatten to check it's okay and flatten and copy UVs, and now I can pass it into the hypo y poly mesh. Basically just pug in again. Pass UVs. Let's go. Let's go. And it's done. Almost Let's go. Let's go. Yes. It's done. Now, basically, I can just copy these settings of the surfacing. So I did copy. So let me see. And now Let me click here. I can pass it. Yeah. L et me see here. Like the poly group and noise pest to keep the mask on the intern part. I just want on the visible part. So that's cool. Yeah, but I need the divisions in the middle. But the latter aspect. That's okay. Let me increase a little bit the strength and apply to mesh. Now, it's cool. Yeah, let me clean up the masks. And yeah, it's good for me. What I need to do is de fight, make the landmark divisions. So let me work with layers and break a little bit and make the damage. I think that maybe the division. I don't know if it's necessarily. Let me make the damages here using the here. Let me keep on the same layer, no matter. Let me make the landmarks. Let me see here. Wow wow. Let me see this sport. Let me see. Let me redo it. No past. Okay. Apply to mash. Clean up the mask and let me create a new layer. Damage again. Damage. Da changes and create this effect here with this brush. It's a little different this aspect. They pull the mesh. It's a mix set with a mix set with pinch brush, something like that because they make this pinch. In the same time that they cut the mesh. So yeah. And the mark it. Yeah. Let me break the perfectly cycle here. Yeah. It's going well. Remember, you guys, this type of characters usually will will require a lot about your computer like the memory. It's necessary. So I recommend you pay attention about your settings, for example, I really recommend you invest on a computer and a good computer, buying a good computer. Let me break a little bit more and bring a better contrast and create the landmarks here. Yeah. So yeah, faring these parts. Yeah. And we have this aspect. So 37. Finishing Leg Leather: Allow you guys to finish the parts here. I just basically I have applied the same work flow duplicate duplicate I duplicate the rings here to simulate ropes. And now I'm marching out the parts. And we're going to start working on the ladder. So basically here, I just follow I follow the concept here. More or less, of course, is not perfectly because it's not possible, but I tried to follow something similar. And let me merge of it. That's. That's okay. And now use the ato groups because if I want to if I want If I want I I want change, something, it's easy to make the things. Now let me start the forming here, the plane, and we're going to make the same thing exactly the same workflow that we have done the previous video where we have done the ropes and the to the forearm. And here we're going to make the same thing. Try to create the physical pipe. So Yeah. Let me see here. And let me create this effect. How you can see, it's not difficult. Basically, it's a repetitive process and sometimes we'll be very tie there is this word. Yeah, it's a t if process. Because it's repetitive, it's the same thing when you need to make the wrinkles and paris on the body. But the good part, it's the final when you are in the final part so that you have the, the good results, it's so it's very, very satisfy but of course, in the satisfactory. So of course, when you are doing it in the first moment, the blockage, it's very worry. But it's an no. I like to say these things because a lot of artists lies lie about that. They don't t correctly things. It's they try to hid the things. It's kind of, I am a God. I don't have pain, and my life is perfectly. So no, some projects will be very boring and frustrating. But it's the life. It's normal. We have a lot of challenge in our life. So we can't give up. This is the question. And the secret. Because of that, I like to say you guys, Yes, it is hard, the life is hard, but it's possible. You will find you will get. Let me say it correctly words. You will you will reach your objective. So this is the question you will reach your dream. Just keep moving, making the things and don't give up. This is the secret. Don't give up. And so, well, you will enjoy your life. And you will be happy with your profession because today, I'm very happy with my life. Of course, I want more. I want to reach a lot of other things. But I can enjoy my life now. So this is the secret. Enjoy your life now. The present. Of course, it's important you think about the future and you learn with the past. But the big secret decay, is the now, the present, your life now, what you can do now? So don't spend a long time think about the future or just crying about the past. Just fox, keep the fox in the present. And your life will be very, very bad. Enjoy your family. Enjoy your friends, your wife or your husband, your son, and make prey. It's perfectly. I love it. I love drink energy drink and work and play video games you. So this is the secret, you enjoy the process, the journey. Don't make your your journey a bad thing. Enjoy the process. It is important. Nobody say nobody say it. It's no, I will not say it for the guys. I just going to talk about my perfectly life and that I don't have problems. It's a completely big lie. Let me apply here. Let me subdivide. Let me reconstruct, of, and et me close a little bit. And now I can pass the offers. I need make the I need make the wrap, of course, then. Let me see here. I need to open D UV to pass the surface settings. Let me work with a clone. The plug in and wrap CVs, flood and first, CPV is now. And let me return to the hypoly and past. The DV. I love the brush because that the workflow is so awesome. So really awesome. Awesome. Awesome. Let me active the store and past. Well, I need copy. First from this one. Let me copy and now return to the sport letter. Now that's okay. Let me go to no active and past That's cool. And now I'm going to make the details that I lost to record for you to the forearm. So now I'm going to make it. I apply to mesh, the ns here. That's cool. Awesome. And now we need to make the deformations. We need to make some other things here. L the Let me create Let me go to layers and create a new layer. And let me start making the damage. I think, that's okay. Let me select the brush. Why are you here? L las two. I go to make the same thing that we have done on the forearm. S. It's a repetitive process. Let me select this other here three test. Now we'll be with lines. Let me select so the one. It's more like this one here, it's similar with the by crack. Yeah. Let me make here two. Here this part to you to So let me mark here. And make these details. So yeah. Let me see here the other part. Yeah. Let me use this guy here. To create the landmarks. If you want guys, you can use them standard, or if you want to, you can use the crack. So now we're going to the. It's cut the letter. You can use other brush here. Until here. That's okay. One, one, two, one, two, three, four. Let's make it to decide here to hops more here. Yeah. The bottom parts to my set. Now yeah, something like that hops more organize it. That's good. Let's make this other side here because that is better work, separated, but that's okay. Until here. Now I can connect. I need to make a water line here, so until here. That's okay. To strong. Let make this way. Yeah. Here. Yeah. You'll be hidden inferior part and the back part to to finish. Yeah. That's okay. That's enough. Now I can work with the inflate brush to create a better aspect. Yeah. Let me use standard bruh, move brush to make a organization. And let me return to the later other layer, and we're going to add the variations here, strong, a little bit more strong. How I say All time we need see the model and see and try to try to see why we can Contrast these elements. It's always it. Yeah. So Of course, we could work a lot of Bao, on the anatomy of the sixth, but I think that is not important for now. It's for a study and the character. It very cool. So I make organize it 38. Conclusion: And weg, I you finish, I have added the fetter. I have I have bought from Bernard $5 only. Useful. So I have tested, and I have applied. It's not applied. I just have placed it here. So Marti have position. So this part and the hair part, we're going to make in the second curse, where we need to make the hair from hair cars. We're going to add some parts to break these elements involving here, these things, and same thing will be with the fader. Here, basically, we just add that it and pose it to have a better organization. So basically for this character is it. I am using the half as met cap here. It's from Big artist from Brazil. He's focused on anatomy. So I am using it, this met cap, and you can make the download if you want and use it too, it's very good because we can see the details. It's very good for us. The same thing with this port of the the feed and all these elements. So it's very good. Is it, guys? Remember, this is the first part. Now the next step next step, we're going to make the repology. Open D V and make the bakes. Remember this part here. Let me see here. This part here. We did a little bit more open because we're going to make the topology and I need open a little bit more, but second, of course, we're going to prepare the mesh. Going to make all these elements. The row will be the same thing, we will be by cs. So this first part is it. It's more simple. In the second part, we're going to start making the other stage and make the rest of the workflow and pipeline. Any questions, please ask me by this Cord, by emo, well, by Instagra anything that you need, you can ask me, will be a please help you and chat with you, too. So is it, guys, see you in the next curse? We have a lot of other things yet to do, a lot of work to do. And this is the life of a Trey arc artist. So see you guys in the next curse.