Complete Guide to Marvelous Designer 11

1. Introduction: Hey guys, do you find it difficult to sculpt are modeled clotting for your characters. Would you like to learn a really nice, optimized and efficient way to do so. If that is the case, then I welcome you to the next suits Complete Guide to marvelous designer 11. My name is Abraham Leo. I'm going to be your instructor throughout this course. In this course we will be covering all the different tools that we have inside of marvelous designer. How to create patterns, textures, how to use materials. But not only that, I won't be teaching you the principles and the basics of the tailoring world so that we can translate all of that knowledge seamlessly into those assignments. Throughout this course, we won't be covering marbles, interface, pattern usage, principles of tailoring, medieval Cloth thing, procreation, textures, rendering, and much more. This course is made out of six chapters. The first five chapters will contain exercises that will guide you through the different creation of garments and it's at the front. Those assignments, we will do basic stuff such as stresses, is school uniform and then some advanced stuff like a military outfit and some medieval guards. After that, in chapter six, I'm gonna show you several techniques that you can use to bring up the clots that you create inside of marbles into different softwares to make them even better for her portfolio. This course is aimed at beginner level students who wanted to learn the very basics of the marvelous assignment or injuries we're gonna be covering everything from 0. You do not have to have any previous experience. However, for chapter six, having any experience on any other truth, the software such as ZBrush Blender or substance painter, will greatly benefit the content I'm gonna be teaching. Other than that, make sure to have marbles assignment 11th, the latest version and your ribs. Go. Join me and learn how to create amazing clock in no time. 2. Interface Overview: Hey guys, welcome to the first video on this new series. Today we're going to start with Chapter one. We're gonna take a quick look at the overview. We're gonna take a look at where all of the main buttons are. And this is the first thing I wanted to talk about, which is the Settings step. Every single time that you open. Marvelous signature gonna get this unless you check this one of course, the most important thing is to make sure that you have things properly set up right here. More often than not, you're gonna be working with middle meters. That's the standard fashioned approach. Again, more often than not, we're going to keep it like this, especially if you're on the, what's the word? Not the imperial system but the metric system. Now, I personally changed my view controls to Maya just because I'm used to the Alt and the three clicks movement, if you want to use a different one, feel free to do edges. Keep in mind that throughout this course and we're gonna be using the Maya and the Maya center. Now, I am going to check this so that we don't have to see at any other time and it was gonna hit. Okay. Now we are using marvelous designer 11, which is a new revamp of the marvelous designer interface. And there's a couple of things that might be a slightly different, especially if you haven't seen marbles in a long time. First of all, of course, we're gonna have all of her menus up here, which we're gonna be able to access all of the different things. If you ever find yourself trying to look for something down here and you can't find it, go into the menus. And more often than not, you're gonna be able to find it a little bit easier. So anything related to avatars going to be right here and the related to the 3D patterns or to the patterns, everything's gonna be up here. So every single shortcut you see here has a button up here on the panel use. On this side, we're gonna get the library by default. And this is one of the cool things now you can change it, this elements right here. So any of the little blocks that we have right here, we can change to something else by default, et cetera, library 3D window to the pattern window, fabric and the probability editor. I personally like working this way, but we're gonna be changing certain things later on. For instance, the button, button holes, stuff stitch and stuff like that. We're gonna be changing things over here. At any point you can just click any of these bonds are going to pump this thing out. Now you can have multiple windows, for instance. Let's say we want to work with the history over here. And maybe if you have a second screen, you can bring this somewhere else. You can close this, of course, feel free to customize if at any point you are lost and you want to go back to the original just here, settings and preferences and reset to default layout, that's gonna be your UQ. To go back to this view that we have right here. Over here, two important things. We have the general and we have the store. The store is a relatively new addition to marvelous designer where you can get a lot of different garments that might feed the characters that you're working for very, very, in a very fast way. Now you're taking this course because you want to do your own garments. So probably you're not going to be using this as much. Just keep in mind that there's there right here. Now here in the library, we do have a couple of things that we're gonna be using quite a bit. For instance, the avatar section right here. If you double-click the aperture section, you're going to get into these areas and we have five different averages we can use. We have female avatar, which are these two once by default, by the way, this ones, you might think that you need to buy them or something. No, it's just that they're on the cloth and you need to download them. They are not downloaded the by default to save a little bit of space, but if you want to download any of these ones, feel free to download it and use it as well. All of the arbitragers will have different hairs, different impulses for emotion, shoes sizes, stuff we're gonna be working with pretty much everything in default. So just keep that in mind. There's five different avatars, the female, the male, the sensor, which is this strong guy like, look sort of like a bodybuilder. And then we have the stylus, which is a little bit more like anime and the mean proportion, this one right here. In our case, we're gonna be working with the female and the male again in most of the exercises. However, later on, I am going to show you how to import your own avatar and work width. Another thing that we're gonna be using quite a bit are the fabrics. Here. There's all of these different fabrics that you can use. A lot of them we'd like nice colors and patterns like a Then them over here, that's then m, we have this sharp effect. So there's a lot of really, really cool patterns that we're gonna be able to use. And again, remember all of these ones that you see right here, you can still download. You just click on any one. Like for instance, let's say I like this, like rebutted effect. Just click on this little bond right here. And as long as your license is active, you're gonna be able to download directly for the service and it's gonna be on your computer from that one. Yeah, that's pretty much it for the for the library. Now, the three-day window over here, let me go to the avatars and let me select just the female arbitrary here. Double-click. This will load the aperture into our scene. And the 3D window over here is gonna be our main way to view how our clots are stimulated. I know that this is a little bit basic. So if you've already heard of all of this elements, we can move onto the next video. That's fine. But I am gonna be touching or I'm gonna be talking about a couple of important things here as well. So in this 3D view window, I'm gonna be moving with Alt and click to rotate Alt and middle click to Penn, and finally Alt and right-click to zoom. You can also use your scroll wheel, of course, to zoom in and out of the character view. Now there's a couple of very interesting things up here, which are the different types of elements that we're going to be able to see. For instance, this one here is what or not. We want to have a nice render like this render, as you can see, it looks way, way, way, way nicer than this one. This one that looks a little bit like Lambert. And this one's not gonna look as nice. So when you turn this on you, you're going to get this quality render pretty cool 3D garment display. Once we have a 3D garments, we're gonna see options here that are going to allow us to visualize other elements inside of our garments right now. We don't have any environment. Let's add one real quick. I'm going to go up here to garments and we have this t-shirt right here. I'm just going to double-click and we're gonna talk about garments later on both you're able to just grabbing the element and imported into the scene very, very fast like this. And now if I simulate, click this little arrow right here, you can see that the shirt is like falling into the character and I can move it around and stuff. This is the magic of marvelous. This is what we're gonna be exploring, how to create all of these different elements. Let me reset the 3D. Not not that one. I'm just control C. There we go. Because he'd seem to late and that's it. So now the shared is following on top of our, of our character here. Now that we have a garment, we have options here for the garments. So we can see the seam lines, we can show internal lines and it might be a little bit difficult to visualize. But if you see that there's a little yellow icon, that means that these things are like you're visualizing the elements if you turn them off. So for instance, if I say this one, I'm turning off the garments so I'm not seeing anything. If I don't want to see the seam lines of my element or I don't want to see the pins are the threats or any of these options, you can turn all of those guys off. There's also show topology, which in this case it's not going to really show us anything because we don't have any topology. We haven't read topologies, the government. But yeah, now on this one, it's about the buttons, piping, sorry, pipe banks, bonds, gifts, and shrimps. Those are other elements of the government that we're gonna be using. This one, this one's a really important the avatar section. On the avatar section, very important. Click it. If you don't click it, sometimes the mouse doesn't like registered, so you need to click it and now you're gonna be able to access it. So arrangement points are gonna be really important for us. So I can just click this here. There we go. That's really weird. For some reason my arrangement points are not showing. We can do X-ray joints which are going to allow me to CDE the bones themselves. Later on we're gonna be able to post our character. Oh, it's because I've been stimulating, of course, I wasn't feeling it. That's why I can see it. So let's go here. Let's turn this off and off. Arrangement points are arrangements are specific points that you wouldn't normally use to position certain pieces of patterns are closer to your character so that you don't have to manually move things around. By the way, to manually move some things, you just click on the pattern, which are these things right here. We'll talk about them very, very soon. And then you just click any of these arrows and move them around. Right now this banners are already in 3D view. But if we were to press this bond right here and reset it to the arrangement, you can see that there are now flat like what we have here on the 2D pattern window. And if we wanted to move this, for instance, like this guy and position it on the army, it will be a little bit tricky. That's where the arrangement points are for. Just click on one pattern and then you click on an arrangement point. And as you can see, it goes where it's supposed to be. For instance, we click this one, and then we click this one. There we go. And then we click this one. We click back here and there we go. So it's a lot easier to find this now, they only work with the default avatars when you import a networker. I believe there is a way to create this sort of pattern points, but this one's work a lot better with the basic avatars that we have here. So now when we see them late, it's exactly the same thing. You can pause or started stimulation with Spacebar. It's gonna be one of the shortcuts that we're going to be using quite a bit Spacewar, when you click space where you're gonna run the simulation and now you can just move things around. There's three types of simulations. By the way, you have fast using GPU normal, which is the default using your CPU most of the time. And then fitting which is gonna be the most accurate one. Normally you want to use this one unless you have like a really complex that you want to go a little bit faster than faster CPU is fine. But for me I find the normal, the normal resolution is more than enough. So continuing here with the viewport things and the other one that I wanted to show you, this one, X-ray joins. If you have a like a like a Rick character, you can actually select the joints and move them around to pose the character into different poses. And that might be also useful later on if you want to do a specific clothing patterns and stuff. So yeah, that's the X-ray room or click X-ray Joints. I went to measurements. It'll tell you how long or wide each part of the character is. Again, quite, quite nice to see, but not super useful because we're gonna be doing a lot of like freehand drawing over here. So just keep that in mind. We have the arbitrary line, that's fine. And then the fitting suit, which will be like a mannequin, which again, not really necessary for us right now. Now on the garments, this is one of the last parts of this first video on the guardsman. There's a couple of things that we can do. We can change this to another surface. Right now. We don't need that. We can do opaque surface if we're Once he didn't transparency, we can do mash to CD topology of the object, which again see how it kind of bounces up and down because you can't have both of them like selective. You can do a wireframe unshaded, which is very similar to like other treated softwares. In this case, I just wanted to do like texture surface, extra surfaces, usually the one that we use the most. Other than that, I mean, we have this one which is the pressure points, which are the points that are touching our character. Useful to know where things are hanging or like attaching to. And then this one's really cool to strain map, which is going to show you what parts of the cloth or relaxed, just like free-flowing and which parts have a little bit of tension. So you can see here the color range that the redder it gets, the more tension there is. Right now. There's not a lot of tension here. And this is very important, especially if you were to do this for production. Like if you wanted to actually create the patterns and new clots in the real-world. If you see things are really, really pressured. That means that the character won't be able to move because it could just snap this teachers good snap. So usually, usually you want to keep your gradient on the pressure points. As nice as possible. So that's the pressure points. Then this is the shader for the third character. If you want to see the texture character or just a mesh. And this is just a shadow and stuff, just other, other basic stuff about the three windows that we really don't need. So that is the 3D window. Now, other things that we have here in the 3D window are all of these elements over here. We have the selection which is gonna be super, super useful when we're gonna be using this quite a bit. Shortcut is the letter Q, very similar to Maya. And then we have all of these ones, and unfortunately most of them do not have a shortcut now yes, you can go into preferences and change that. But since there are very few tools here in marble designer, like what you're seeing here, That's pretty much all there is. It's interesting sure to click and select the ones that you want. So we have the select brush or select movement elements. We have pins, we have the reset arrangements, we have the folder arrangements, we have the fitting suit, we have the sewing tools, the topology tools, the line tools, the texture tools, button tools, separate tools, PIP pilot, piping tools, press Tools, and a measure tools. Those are all of the different tools that we have here on the top over here. Now this is a different window. This is a 2D pattern window. And a very interesting fact about the 2D pattern window. You can only have one 2D pattern window. If I were to bring this out and I wanted to create this A2 and para winner. It won't let me, it will just bring it back on. Why? I don't know it's part of the, part of the programming here instead of marvelous designer, but you can't have more than one to the pattern window. Now, the 2D pattern window, as you can see, it has a shadow of your character or any object that you might import here into marvelous designer. And they will allow you to, of course, like measure, thanks and make sure that they fit as nicely as possible. Now, this is our main workspace like this is where we're gonna be doing most of our work. And then we're gonna see how Oliver work of measures and assembles together here on the 3D view anytime for us, if I go here to the rectangle tool and they create something new, anytime I add a pattern, these are called patterns. They will be added here onto the window and we're gonna be able to position them and use them, and of course seemingly them. So if I similarly this, you can see that we have this sort of like hanker shift and it will react to the body of the character. So we can do, of course, interesting things with that. So that's, that's how the software works. Overall shape or in an overall way. You will be creating patterns. And then we will be making adjustments and modifications to those patterns. And then we will seemingly those patterns here on the 3D window. The most important thing I wanted you guys to know about the 2D pattern window is all of the different elements that we have up here. So we have these transformed pattern, which is a, another shock of the we're gonna be using quite a bit. And then we have the edit options, creation options, polygon rectangle, an ellipse, internal line options, the other fitting, which is a relatively new feature, Very, very cool. In this case what it does, it'll try to fit the patterns to the size of your character in my adjust the size so that it just looks a little bit better. The sewing tools that topology tools, the steam to the same taping tool, the texture tools, the pleads tools, very interesting, that one where we'll go into later, the top stitch tools and finally the show high modular editing, monitor, modular editor. So yeah, those are the main tools that we're going to see here on the 2D pattern window. Over here, we're going to see the suing display, the pattern display information, display, the mesh display, very important to see through. So in case we want to see through and trace like a pattern or something, we can go here and say, hey, I want us to be a transparent surface. The pattern is still going to work the same. We're just gonna be able to see through it. I normally like to do texture surface and then some box that we're gonna have. So yeah, that's pretty much the pattern window. Finally, this is another window when they talk about, because again, we're gonna be using it quite a bit. Right-click on your 3D view and you're gonna get this simulation properties. The simulation properties, as you can see down here, are the way that this thing is being calibrated in order to generally like all of the different effects. So right now if I simulate we have a certain amount of gravity, we have a certain amount of, of wind speed. For instance, we have a certain amount of elements on the Cloud that are gonna make it react in a specific way. Again, right-click and simulation of properties. So if you want to change the gravity, if you want to change the number of CPUs, if you wanted to use GPU simulation, all of that stuff is gonna be turned on this eye right there. So very, very important. It's kind of like hidden because you don't really see them unless you go into this right-click menu. There's a lot of Right-click and managed by the way here instead of marbles designer. So I get used to that because we're gonna be using a lot of different objects, options. And those right-click menus are context sensitive. So if you're selecting a pattern, you're gonna get certain options. If you're selecting a segment, you're gonna get other options. If you're selecting a point, you're gonna get other options. So yeah, it can get tricky, but don't worry, we're gonna take a look at every single one of them. Now, finally, I want to talk about the property editors, which is when you look at pattern, the panel Lord, pattern will also have its own property editor. So there will be physical attributes linked to this pattern into all the patterns, of course, based on the simulation properties that we have here. So there's two ways to change your simulation on the pattern itself and of course on the simulation properties right here. Yeah, I think that's pretty much it for the interface guys. I normally work all of my courses. We normally work on the stock like interface. We don't do any sort of like customizing or anything. So that's pretty much it for this first video. In the next one, we're gonna be talking about the basics of fabrics. We're gonna talk about the important things that we need to understand about the different factors. So hang on tight and see you back on the next one. Bye bye. 3. Cloth Properties: Hey guys, welcome to the next part of this series. Today we're going to continue with the cloth properties. So this is where we left off just a quick overview of the interface. Now it's time that we talk about how the world works or how the cloth works here inside of marbles assignment. First of all, as you can see right here, this is a very common issue. This happens when the cloud is not like calculating properly. Now this could be due to one thing and you remember that I changed the simulation properties, any relation properties to use GPU, I'm going to uncheck that. I'm gonna let this just the CPU. The CPU tends to be more exact while to GPU tends to be faster. So depending on the kind of approach you want to have for your own garment creation, you might want to use one or the other. How does this work? Well, the way marvelous designer works. By the way, there's another sister program called Khloe 3D, which is a little bit more geared towards people that are doing this for production, for actual production of the garments in real life. In our kids, this is perfect for VFX and in both of the Lambda and both of the software's. The way this works is by using this thing called the mesh. The patterns that we create here get triangulated very similar to the estimation process inside of ZBrush. They get triangulated and those are the triangles that gets simulated the inner workings of the software. Similarly, this thing to create the folds are wrinkled and a lot of different things that we normally see here instead of marvelous designer, the way we're gonna control this is by using this thing called particle distance. Now, keep in mind that this particle distance is set in millimeters. That's why it was very important for us to set this proper measurement. And what this means is that there's gonna be two centimeters. Triangles are gonna be two centimeters from each other, 20 millimeters, of course it's two centimeters. If we want more definition on our mesh, we're going to decrease this number. This is a little bit like, I know it's a little bit like ironic most of the times when we want more, well, we increase number. In this case, we need to reduce the numbers. Who if we go all the way down to ten, for instance, what's going to happen is now we're going to have triangles. We'd only one centimeter of this since, but see what happened here. And I only got to change on this particular patterns right here because these were the ones that were selected. And as you can see, there's a little blue line right there. That means that they're linked together. Whatever happens to one of them is going to happen to the other one. Here, as you can see, I changed the resolution down to ten and it only affected the patterns that I had selected. If I want all of the patterns to be effected, then of course I select all of the patterns and lower this down to again, something like a ten. There we go. Now, of course, the more triangles, the more computing that our computer is going to have to do. And sometimes it does lower, the simulation is going to run. So if I hit Run now, you can see that yes, I can get way more wrinkles as you can see there when were false and stuff. But it's definitely taking a little bit longer. Usually the way we work when we're working with garments is we start with a low particle distance, or in this case a high particle distance having big triangles. And as we are refining more and more, then we get into lower and lower numbers. However, this has a little exception. If you're working on things that are really small, like, I don't know. Let's say we want to create just a piece of fabric like small piece of fabric that's like this long because we like a ribbon **** or something. And I want this thing to simulate the shoulder of the character, like kinda like just laying there. Well, the problem is this thing has the vertical distance set to 20. And it's such a small object that if I take a look at the wireframe here, here, you're going to see that we have very, very few triangles. So when we simulate, yes, this thing is going to flow on top of the character. That is not really going to give us something that we would expect to see from a river or something because there's not enough detail. So for small pieces, you can actually go really, really small, three, for instance, then you can see that we get super, super fine detail. And that's going to allow us to get a little bit more details and effects out of this little, little piece right here. So when you're working with really big pieces, you can have a larger particle distance. And when you're working with little small pieces like this one, you can have a lower particle distance. That's usually the way to go. Otherwise, it just lowered the particle distance at the very end of the garment production so that things like flow in a better way. Now, other than that, there's a couple of things that fabrics have, old patterns have here. Let's go texture. Now they're going to dictate how they simulate. If I select everything right here, you can see that the other than the particle distance, we also have this thing called shrinkage weft and shrinkage warp. This has to do a little bit of width cloth. If you take a look at the cloth surface, like any closed surface, we know that most textiles are different types of fabrics are different types of filaments that are sewn together are needed together, together in an interesting thing. So we have nylon, which is plastic, we have cotton, which is methyldopa, well cotton, we have wool and the cloud like the fibers of the club, have the tendency to either shrink or relax depending on the type of property or the type of material that we're using. The weft and the warp are a property of the claw that's gonna try to either shrink it or let it just like go out. So if you went to have a really form for that cloth, you're probably going to lower, in this case, a shrinkage weft. Now the way I remember this as a warp as in Star Trek, beam me up, Scotty, stuff like that. So why did you go up and down and then weft kind of sounds like left. So it's left and right. So. Shrink is href is going to move the tension or the stretching of the cloth from left to right. And warp is gonna go from top to bottom. So you can see if I lower this to say 15, they simulate the Cloud is gonna become much shorter, like, uh, like atop skins. See how this gives me this very interesting effect, which might be something that you're going for your garment. But of course, 50 is way, way, way too much. So let's set this at night. And this other one will do the exact same thing. I'm going to exaggerate it again. I was gonna do it from left to right. So as you can see, it becomes very light, skin tight. So if you're doing some sort of like leggings or like, I don't know, some sort of like a diving suit or something where you want things to be really, really close to the body, then consider using shrinkage, weft to really bring it in towards the body or shrinkage warp if you want to create this or like up and down a variation. Those are two properties that we can change here on the fabric. Now this thing right here that we're changing our affecting this thing, the fabric number one, if I were to add a new fabric by just clicking this Add button, you're gonna see that this Add Fabric also has parameters, especially over here like on the physical properties. We also have stretch, warp, stretch, weft, and not all the father of things, bending, bending, walk, anywhere of shears, etcetera, etcetera, etcetera. Now written out, I don't want to focus on dose once. Right-click and delete this one, I want to focus on the basic ones. And again, this are the pattern specific things to patterns, specific elements that we have here. Then the fabric itself will have its own little elements. So by combining both of them, you're going to achieve different results in this case, let me just control C to bring this thing back to a 100th. Let's say a 100. When you see red number in here, that means that the attribute is different. So that means that you might have a 100th year, but some other piece has a different number. Very easy way to know whether things are equal or not. Of course, there's gonna be parameters like the name and stuff that are not going to have to same, the same attribute. But most of the times, especially if you're doing like a piece of the same fabric, everything should be pretty, pretty similar. Now, as I mentioned, we have it, this fabrics up here and this fabric has helped things such as the color. So you will not have like a, like a red t-shirt or a blue T-shirt. You can change your red here. We'll talk about textures and materials later on a little bit more. We also have something called the presets. So, you know, for instance, Denham, the things that genes are usually made out of, It's a lot stiffer and it's a lot like harsher than, for instance, cotton or silk. So those properties would be very difficult for a normal artists to figure out and find the perfect example. And that's why thankfully, we have presets. So if I were to create a new fabric right here, you're gonna see that down here on their physical properties, we have all of these presets. Normally all of these presets are the materials that you download, such as this one like this RIP. Remember, we download this one on the last session. We have this leather, we have this neat and you can always go back up here into the fabric section. For instance, if I type in denim, I double-click a, an element, this object will be added to my fabric tab. Remember if you have your fabric tab, you can go here and just check it out. This one, you just place it exactly where it's supposed to be. Like just drag and drop it on the particular asset that you're working with. And you're gonna sit now, we see we have a denim shirt. Now if we simulate, the denim is going to behave slightly different than, let's say silk for instance. So let's go for it, silk now. Let's just double-click the silk, which again we're going to add right here. You could also just grab everything and just assign just here. Just grab everything here, like the material and just hit the sign. There we go. So now everything has the survey that's using the same fabric. So let me delete this one. Let's go to the silk. Let's change the color. There we go. I will just drag and drop a change the color. There we go. So a nice red silk. Perfect. Now we have the SOC and if we simulate, as you can see, the silk will be a lot smoother. We'll get more wrinkles and we'll get a different sort of behavior because the physical properties of the cloth will be slightly different. And that's pretty much the basics of the clothing system, like the proper settings, however, and this is one of the things that I like. I like and at the same time I find really challenging about the software. The software is rather easy to use. I'm going to create a new scene. Rarely hear. The software is rather easy to use. There's not a lot of things were a lot of tools that are inside the element above. The problem is not the tools themselves. The problem is that we actually need to learn things about how to be a proper Taylor to really utilize and maximize the use of all of these tools that we have right here. It's not just about going here and creating patterns. And that said that there's a lot of things that go into it. I'm going to go into avatar first and I'm gonna say delete out all avatars and we're gonna talk about patterns now. Here on the 2D pattern window, we can create patterns and there's only three ways to create patterns. Instead of, instead of Marvel designer, a polygon pattern, a rectangle pattern and lifts or create patterns out of other patterns. The polygon pattern, as you might imagine, is just to click several points in space. And depending on where you click, you're going to create this shape right here. Now remember the measurements that juicy here are in millimeters. So if I create, for instance, this line right here, which is 2326 millimeters. That will be two meters and 32 centimeters. Okay, just move the decimal point once towards the left and that's gonna be your measurement in centimeters. So be very mindful because remember there'll bigger the cloth them more triangles, the more computational power you're gonna require. Now, you can play appraise backspace if you're drawing points and then you miss 1 there you draw something that you don't like. You can just press backspace and that's going to delete the last point that you created. Do not do Control-C. I do control very often because I'm used to other softwares and that's going to remove everything. So be careful with that one. Then we have the rectangle polygon with, again, very simple to just drag and drop and that's going to create a rectangle. Very easy, very simple. Now, if you click instead of drawing or dragging, you're gonna have this option to create this specific size rectangle which you can select here, the width and the height. You can actually create several of them as you can see here, the interval and the angle. So for instance, I say, Hey, I wanted like four or five of them. Look at that. We get several of the same time. So that's a little bit more useful for pattern and stuff. But for now, just drag and drop and right-click to create two different types of polygons, sorry, normal quick, it's just normal. Click, hit Cancel. The other one is the ellipse. And very similar, you can press and drag to create an ellipse. If you press shift, there's gonna be a perfect circle. Very, very important. Those points that are seeing right there, those are the sections. So you're getting the number of each individual section. The other thing, of course, if you can just click again and you can select either diameter or radius. If you know exactly how big you need your parents to be, you can just input it here on the creation process. Now, in the world of the polygon tool here, there's one more thing that's very, very important. And actually this is gonna be the first exercise for this, for this video. In this one, you can't adjust or army, you can just add points. But patterns are usually not super hard. Sometimes you're gonna have some nice curves. How do you create a curve by clicking and dragging. If you click and drag, you're gonna create a curvature. You can also press Control and just click or Control and click and drag. That's the, That's another way to do it. However, as you can see, it's a slightly different. If you do control, you're not going to get the curve. And if you, if you click and drag, click and drag, you're going to get this sort of the Sierra. If you're a little bit more used to working with vectors, you might want to use this one because you get the splines are the little handles. If you don't want to work with those handles and you just want to work with normal curvatures. Just click Control and just track. So just barely similar. Sometimes for certain things I preferred the handles and for other things I prefer this one, especially because sometimes you're gonna go into the edit point and when you have the handles, it becomes a little bit difficult to manage. In this case, it's just a little bit, this is just move the pointer where you want and the curve is going to behave closer to what you expect. Now we're gonna do a little exercise. And again, as I mentioned, this is gonna be one of the first garments did you're gonna be creating, which is not that Carmen itself. It's actually a heart-shaped pillow at the time of this recording, we're kinda close to when Valentine happens. So I thought it will be a cool idea. In the world of tailoring, there's a lot of things that are cold patterns. Patterns are just a way to get an idea of one cuts. You need to agree the specific garment. Now, we're gonna talk about the patterns a little bit more indefinitely there. And because there's a lot of information here that we need to process. But one thing I just wanted to make sure that you understand this works for the real-world. In the digital world, we really don't need patterns as much. Think of them more as a reference rather than hard, like a reading down rule or something. They're more like an idea. What do you need to do to import a pattern right here, it's very simple. I'm just going to right-click and we're going to say to add background image and then go here. You're going to look for the file. In this case, I want you to go into chapter one and you're gonna find this heart-shaped image. I'm just going to hit Open. Now, don't say okay yet because we need to adjust things here. Each of squares that you see here, I believe that's ten millimeters. So that will be like once an emitter, this is way, way too small. So I'm gonna change the scale to something like a 400th to make this thing a little bit better. Now, more like a cushion SICE, you can change the opacity if you want to see it very, very faintly or super hard, you can change this rock here. You can change the rotation and once you're done you hit Okay? Now, unlike other softwares, once this is in here, you can't move it. You're going to have to right-click again, go back to add background image, and then you can move it around or change the rotation or scale or whatever you want. But there's no like gizmo or option to change the ones that you have to access this background image menu. If you'd like, if you want to clear it or change the image plane, you're just going to hit recent. Unfortunately, we cannot add more than one image. So just be mindful of that you can create, of course, a collage in Photoshop or any other imaging processing software and embedded. But for now we'll just just one image. So hit Okay, and there we go. We're gonna trace the hard right here, right? So we're gonna go to our polygon tool and we're gonna start with, we'll start down here in this case, I'm going to start down. I'm going to press Control. Just give me a couple of clicks. Pressing control, control is big for us at this point. And I'm just going to give it a couple of clicks while we go through other curvature. Once we hit the middle point, then I'm just going to go instead of hitting Control. Well, that's my bad habit of doing. What's the word of doing control C2, to go back. Control, control. Once I'm about to get there, I'm not going to press Control. I'm just gonna do one normal click. Because I wanted the final point to be sharp. So remember when you do not press Control or drag, you're going to create a sharp point. And in this case that's what we want. Yeah, there we go. Now, one of the big questions, how do we create the other half? Because we're doing this because we want to save time. We wanted to make sure that we don't have or we're not spending any more time than we need to copy this retro mirror. There's there's actually three different ways. The first one is just right-clicking, Copy, right-clicking or Control V, Control-C, Control-V. You're gonna get this. Unfortunately, this is not the proper way. Yes, we could flip it, but it's not gonna be exactly. What you want to do is just Control C. And then there's mirror paste with the shortcut is Control R and it's gonna mirror pays this, Control C and then Control R. And it's going to mirror pays this to the other side. Then we can show these two pieces together using the sewing tool segment sewing and just connect from one side to the other. We'll talk about the song into a little bit more very shortly. That will give us our heart-shaped pattern. If we simulate, you can see that we get this just to flappy little thing here in the heart of the shape and the form of ship in the shape of a heart. Sorry. Yeah, I mean, that's that's looking like something but not really what we want, right? Like I didn't really want to have a seam right here. Normally if I were doing this in real life, I will have the full thing. So the easiest way to mirror a shape is to go here into the Edit Pattern Options. Select the inner line, right-click and select this option called unfold. Unfold is pretty much like mirror. We just unfold and we're gonna get the same shape on the other side. The disadvantage of doing this is that even though this is mirror, it does not share any sort of like symmetry. So if I were to change, for instance, this point right here, it's not changing over here. One thing we can do to avoid that though, is go again into Edit Pattern, right-click and say unfold symmetric editing. Now as you can see, we create a seam line down the middle. And if I wanted to change a point in a specific part of my garment, Let's go to Edit curve point for instance, it will change on both sides a super, super, super helpful because usually we're gonna be making changes to one side of the character and we don't want to do them all over again or rebuild or restage things together. We're gonna have a lot of like paddle-like. What's the word duplicate editing or just like connected editing. So when you move one side, the other woman, it doesn't matter which one you move with their connected. So super, super helpful for us. There we go. We have created our first pattern. Let me just check how we're doing on time. Okay, We're running a little bit high on time. I'm just gonna do a quick little thing here and then we'll, on the next video, we'll continue with the details for this one, there's hardship cushion. This is not the Christian right? This is just a normal flat thing. I'm going to reset that to the arrangement by clicking this button right here so that we're back to this element. I'm going to show you something really cool. When we went to add thickness to an object, we need to add something called a clone over or clone under option. If you select both patterns right-click. We have this option right here, which is called a layer clone over, or layer clone under. What this will do is as the name implies, it will, what's the word? It will clone the object will clone the symmetry, but not only that, it will also stitch them together. If I were to grab this pattern, for instance, and move it forward, you're gonna see that all of the border of my pattern is already stitched together. Now, if I simulate, nothing's gonna happen. You saw there that he kind of looked like a cushion, right? It started looking like something, but then we get the super horrible thing. Why is this happening? Well, because the marble is, doesn't know that we want this thing to be filled with something. The best way to fill an object here in South of marbles is just seeing something called pressure. So we're going to talk about pressure again more throughout this course and throughout these videos. But pressure is just like a positive or negative force that we can add to the garments. And when patterns have pressure and the pressures are opposite on two sides of the pattern, we're going to create a vacuum. And that vacuum is gonna give us volume, which is gonna be super, super-helpful. I'm gonna select this one right here, which is the top element. Let's reset this real quick. Let's grab this guy. So just click and just drag, click and drag. There we go. I'm gonna select this path of positive pattern right here, the one that's on the front and on the top. And then down here I'm gonna select the pressure. I'm gonna say something like five, positive five. And then this one is going to have a pressure of negative five. The pressure is going to push the cloth to the direction, to the x-direction, to the, to their normal direction. So there front-facing element, depending on the pressure, it's either going to push it forward in this case, to this side for this one, or backwards in this case over there. Now, when we simulate, look at this blip, we get this very nice cushion. Now, this would be the inside of the cushion. We don't have the nice fluffy are comfortable like cover for the cushion. But this is looking quite, quite nice. So again, we're gonna be using pressure quite, quite a bit. You can make this super intense. So for instance, it was still the simulation. If I say that the pressure is going to be a ten. And then I say that the pressure for this one is gonna be a minus ten. And then they simulate it's gonna be like super, super inflated because there's a lot of pressure in the inside of the, of the object. Now super important, whenever you're using pressures, you want to make sure that the pressure is the same or opposite, but in the same amount for both sides. Because if you change this just a slightly maybe this is like 11. What's going to happen is this thing is gonna start like, kinda like floating around. And especially with lower numbers, you see this a little bit more because there's gonna be more pressure on one side than the other. So you always, always, always want to keep the same pressure on both sides. Yeah, that's it, guys. I'm gonna stop the video right here in the next one we're getting to finish this garment. And I'm gonna be talking about other basic principles of cloth. Hanging on type, LLC back on the next one, Bye bye. 4. Cloth Dynamics: Hey guys, welcome back to the next part of our series. Today we're going to continue with the little cushion that we're, we're doing and we're gonna talk about cloth of dynamics. Because now as you can see, we do have our little heart-shaped pillow right here, but I would like to add the cover and I'd like some fluffy little like a curvy lines on the side, very similar to something you would find on a girl's bedroom. The thing here is now I want to create the, the actual cover. This is one of the principles of chloride. That's why I call this chapter cloth dynamics. Because we need to start thinking about a cloth in garments and patterns as tailors. If I wanted to make a cover for this volume that's heart-shaped, I need to use these exact same shape, but they need to make it a little bit bigger so that the covers and fully embraces this shape right here. So we're gonna select this guy. I'm gonna move it up there. Then I'm gonna select this pattern. I'm going to say Control C, Control B, and we're gonna create a new pattern right here. It doesn't need to be like live link or anything. This one, it's its own little pattern. Yes, it has symmetry, which is fine for us, but we don't need it to be connected to the other one. I'm not gonna seemingly just yet, I'm actually going to move this thing to the side. And up like this. There we go. Now I'm going to select this one or actually this one Control C, Control beer as well. I'm gonna go here, but we have a big, big problem right here. The problem is that one part of our foreign little heart-shaped, as you can see, it's dark and the other one's white. Those are the normals. If you're familiar with any other 3D software, you know that faces usually have one facing site and that's called a normal. So this guy right here is the normal facing direction, the white one. If I were to. So this two together, the soil lungs, we'll have a little bit of conflict because they would go from the outside to the inside. And that usually creates some problems. So for this two particular ones, I'm actually going to select this one right-click. And I'm going to use this option called a flipped normal, which as you can see, it's going to rotate this thing to the other side. Now, I'm going to select both elements. So you can see we get this transformation box and I'm gonna make them slightly bigger, not super big, just slightly bigger. Just so that there's enough room for this guy is too comfortable, comfortably cover this guy right here. You got to bring them down. I'm going to bring this guy up. I'm gonna do something very, very cool. I'm gonna grab this guy, this two guys, and I'm going to right-click and hit this button called a freeze. What freezer will do, as the name implies, it will freeze that simulation. So this cushion will not seem, it will not fall down. It will be taken into account for all the other simulations, but they won't move. Which is very cool because I don't want to create any wrinkles right now on the bottom part of the cushion. Now, if I were to seemingly right now, what's going to happen is this one, Yes, it's going to fall on top of this one, but this one is going to fall all the way down because he doesn't know that it needs to be stitched together to this guy up here. Qc do that, we need to use our stitching tool, which is this one the sewing tool. And we're gonna be using segments showing. Now as you can see, we have one segment here and we're gonna do the same one over here. But all surprise, that's actually not the one that we need because as you can see, we're putting the super horrible element over there. We actually have to go from this one to this one over here. As you can see, this one does work the way it's intended. We don't have to do it on the other side because we have this light editing thing turned on. So whatever we do on one side is going to happen to the other side. Very, very important to make sure that you're stitching is straight and the parts that you want to stitch together are going in the direction that you want. A very common mistake would stitching is that you click this and then you see a couple of lines and you really don't know which one it is. Usually you want to follow the same line. So if you click over here, usually you're gonna go here. Because if you go here, what's going to happen, as you can see here is the stitching is gonna be reimbursed. So it's going to stick to this side, to this underside. Which again, that's something that sometimes you might want for some particular garments. But in this case we want things to be even so from here to here. And as you can see, everything remains a strength. Now if we simulate, as you're gonna see, we get our nice little cover for our heart-shaped cushion. Careful there you can see that if I tried to move this thing, the simulation doesn't really know how to handle it. There we go. Now I can select this two guys again, press a to go into selection mode, like this two guys right-click and we can hit unfreeze. But the way the shortcuts are Control K to freeze and unfreeze. Now this happens like why is my cushion going all the way over there? Well, because remember we had the pressure things going on when we duplicated this guys. We actually had the pressures set for them as well, and we don't want that. And since we flip the normals for this guy, it's now pushing both of them upwards. So that's why it's floating all the way to the infinity. I'm going to set both of the 20. Now when we simulate the cushion should fall down, it's probably gonna take a little while to adjust. If this happens, that's like the engine like freaking out. Don't worry, you can go here and try to reset the 3D arrangement. I'm gonna grab this guy's first and I'm just going to say Control K to freeze them. And let's simulate the little cushion first. There we go. Let's keep simulating. Let's make this thing like fall to the ground. There we go. Then I'm going to stop the simulation. Grab it, this two guys. Bring them up. There we go. Now let's grab this pattern right here. This is the upper pattern. Just click careful which acts as your selected the y-axis. Let's move it so that we match this as close as possible. It doesn't have to be perfect because the shape itself will try to correct itself once it goes where it's supposed to go. That's really weird. Let me, let me grab this two guys. I'm going to again control freezing, Control K. Then this guy I'm going to Control K to unfreeze. Let me reset it to the patterns. As you can see, we already said only the ones that are unfreeze. Then we push this guy forward or up, rotate and get it there. There we go as close as possible to the shape that we want. The gizmo, it's a little bit the friends who other 3D softwares don't, don't get confused about that one. It's normal control K again on this one to phrase on freeze. And that would simulate, you can see that this thing actually false, like a pillowcase on top of our heart-shaped. Now we can again select this case again Control K to unfreeze and bloop. The thing falls to the ground. There we go. Our little heart-shaped pillow is working very nicely. Something that has happened to some of my students when we're doing this exercise is that the pillow stars, they become a really, really flat. That might be because you don't have enough pressure on your, on your heart shapes. So if I were to go here and change the pressure, for instance, this one's gonna be like, I don't know, like one. And then this is like minus one. What's going to happen is that the thing is going to fall and it's gonna become flat. Why? Because the what's the word? The the weight of the clot itself, it's actually generating some, some problems. Thing we're going to have to reset the 3D layout once more. Because you can see this thing is trying to go through the other side and that's not what we want to cover, didn't manage to cross the element. So very easy way to do this is just pauses. Let's select all the patterns because there are already like pretty much on the shape that we want. And then just select this pattern right here. Let's move this forward and then this panel right here. Let's just move it down. Again. Let's select this guy Control K. Simulate again. There we go. Little Thing false where it's supposed to go. And now we can select this guy. So again, and just Control K and the pillow is going to fall. Perfect. You can actually move this below around like around the scene and it's going to work just fine. There was a little bit too much force. There we go. Now I want to add this like ruffles on the side, like imagine that another piece of clothing going throughout the side of the element. That's going to work as a little detail for our pillow here. So to do that, what I'm gonna do is I'm gonna go back here. I'm going to again Control C, uncontrolled beat this guy to create another pattern. And then from this pattern I want to create something called an external light or an internal shape though. So I want to follow the exact same pattern but just extended a little bit more. Very simple to do. I am going to go into Edit Pattern, grab the pattern and right-click and select offset as pattern outlet Also pattern outline. Now this tool right here will allow me, as you can see, to extend the border of my pattern as much as they want. So in this case, I do want to go quite far. So I'm gonna say a 100 millimeters, which is ten centimeters. I do want to create an internal lines so that I know that I know where the, Let's go again. Right-click here, right-click, often pattern outline. So we're going to extend a 100th and we're going to create the internal line. Very weird. It's not letting me do it. Yeah, that's right because we have this live linking thing. We have to remove that Live LinkedIn. So I'm going to right-click here. And here I'm gonna say remote linked editing. So now it's just a single pattern. Now I should be able to go again into Edit Pattern, transform this or sorry, edit the pattern, go. Select the both pattern lines, one on each side, right-click. And now I'm going to offer this pattern. There we go. Now I should be able to say a 100th. We get this. I do want to create the internal light and I'm gonna hit Okay, and what's going to happen is I'm going to have the exact same patterns I had before, but now there's an extra light and this is what scheme me, the amount of Clotel I want. I'm gonna select this line, both of them actually right-click and I'm going to say cut. And so now what this is doing, It's pretty much like removing the border of my pattern from this shape, this shape we don't need anymore. I just need this shape right here. Because what I'm gonna do as you guys can imagine, is I'm going to be sewing this thing onto this fellow right here, which is gonna give me the effect that I'm going for. Now, here's a principle that I want to talk about real quick. About a cloth length. Usually when you have two pieces of fabric like this and you stitch them together, grab a different color. If the pieces of fabric are of the same size or really close in size, then the cloth is going to flow very, very nicely. We do this a lot with dresses and shirts and jackets and stuff when we want the movement to be very, very smooth. However, if you have two pieces of fabric in one fabric is way, way bigger than the other one. What's going to happen? This? Yes, you can stitch both of them to the same piece, to the same edge. But what's gonna happen as you can imagine, the longer piece will have to have a little bit of more crunchy to it, more consciousness, more wrinkles, more folds because it needs to contract a little bit to be able to fit on this board right here. And that's exactly what we're gonna be using to our advantage in this particular case. What I'm gonna do is I'm going to scale this thing just slightly more. That discoloration, that little change that we do there. That's really gonna help. Let me grab all of those guys. I'm just going to hit Control K to freeze them. And then just recently UI layout so that we get this clean. Let's bring it closer to our heart shape. Like this. There we go. Now we need to, so this element together. Again, there's a couple of ways to do this. We can use our second sewing and say, Hey, I want this guy to be sewn to. This guy. Looks good, it looks good. And this guy to be sewn to this guy, actually, this guy. There we go. That looks good. And if we seemingly, even if those things are frozen, we can simulate and this thing, as you can see, we'll go exactly where we're expecting it to go. Let's go. In their career, That's very nice. Ruffles all the way around. So yeah, that's working nicely. However, when they show you another little tool that we're gonna be using quite a bit, which is called the free sewing tool. And the free sewing tool especially works especially well when the parents are not the exact or the segments are not exact. So you just click on one side, go across all of your pattern and click, and then click where you want to go across the whole pattern and click, as you can see, it gives us the exact same result with the advantage that it's a little bit like easier because you just have to do this once instead of doing two segments. Right now, two segments is not that big of a deal, but you can see later on with some patterns, it can become quite, quite tricky. So I'm just going to simulate right here. And as you can see, we get our nice little ruffles and we get a lot of detail in them. Now there's one more thing that we can do. We can actually add another layer to give them a little bit of volume. Kind of like creating a little vacuum, like what we did with the first little shape right here. I'm gonna select my pattern right-click and I'm going to say copy or clone S. Sorry. Here's the pattern that we're going to right-click and we're gonna do a layer clone over. In this case now, y over, y under doesn't really matter. Just keep in mind that the ones that you said to over you're probably wouldn't have positive pressure and then you'll want to set to under, you'd probably want to have two negative pressure. This one, I'm gonna say this is going to have a pressure of five. And then this one's going to have a pressure minus five. There we go. So when we simulate again, we're only stimulating the ruffles there. You're going to see how we get a very nice like infinitely to the fact like so there's kind of like a vacuum inside of them. Maybe it's like an extra like filling in there that makes it fluffy and stuff. Now as you can see, when you simulate everything else. So let's select this pattern is right here. All of them. I'm going to press Control K again to unfreeze. And now everything is stimulating. I would like this normals to be flipped. So I'm going to pause this or meridian real quick. Select this pattern, right-click, Flip Normals, flip, not that one over here, right-click Flip Normal. There we go. And since we flipped the normal, we also need to change the pressure. So let's go to five. When we simulate the pressure is gonna be positive right there. As you can see, we get this very cool effect throughout the whole thing. Now we can increase the details. Now, I really liked the detail on the inside of the cushion, but I think the outside could have a little bit more detail. So what did we say when we were talking about particle density? Once we're happy with the result, we can change the particle distance. So I can go here and say, hey, let's go all the way down to ten. We the particle distance of ten. Now we're gonna get way, way more details here and there where more wrinkles and we're gonna get a nice little effect. There's another thing that we can change. Remember the shrink, shrink, shrink cage, waft in, weft and warp. Well there's this thing called elastic, that's gonna give us an elastic field to the whole pattern. I'm going to select both of the natural not elastic. Now this one works a little bit different. You can see we immediately get this like crunchy effect because we're just seeing a ratio of ADP. It's kind of like a factor of like elasticity. If we bring the ratio down Sonka be like super, super tight and super elastic. You usually want to keep it like nine years Trump thing. If you go all the way up and then you're going to have different effects. So I'm gonna say something like that, like an ID that we get some crunchy, crunchy affected the whole thing like this little thing. I'm not like super, super intense. And we can even bring the whole thing like lower and lower. This is good enough. Now what I'm gonna do here to organize my patterns a little bit better. Let's stop the thing for just a second. I'm gonna grab this guy. Let's bring this to the side because that's the inner side of the element. Let's bring it into the center. Those are the main ones. And then let's bring them to the site. We're gonna save this as two different formats. This is a very important first, we're going to save this as a just a project. A project is something that you're gonna be able to modify every time you need it. So when I hit File, save Project, we get this. And I'm gonna save this, of course in our chapters. In Chapter one, we're gonna have this heart pillow. And that's gonna be our projects. So you can actually go in this project and modified very important, it's actually going to save you the PNG file to preview what the project is about. So don't be scared of UC a PhD on your folder because that's the that's the preview of the thing right here. You're also going to save this as a garment. So I'm gonna save *** and say garment. When you submit this garment, you can see that I actually have another one right here. Let's call this heart pillow volume to something very interesting is going to happen. It's going to by default, save it onto your garment folder. So as you can see, we have several ones. Oh, it seems like I over I agree than the override here for my for my shirt pattern. Definitely have to bring that back. So I kind of careful with that one because I think we started with this better with the T-shirt example. This is the pattern. If I'm working on anything else and then when I bring this pattern in, I just need to double-click this and I'm going to bring this thing here. So as you become more and more experienced with marbles signage, you're gonna start building up your library and you don't have to do everything every single time. That's the, that's the great thing about this, that you're gonna be able to reuse certain parts or certain part of patterns that are gonna be important for our whole workflow. So, yeah, that's pretty much it. One last thing we can do is we, for instance, can go to our fabrics here. Whether we did with that one. I'm just going to look for like silk. It's just imported this first silk. And I'm going to add this OK to all of my patterns. Only the outer ones, to be honest, and we can change the color to a nice romantic wrath. There we go. We have description. You can save the government that with this like fabric as well. And they will be saved with the specific material. So super, super, super handy. That's it guys, sit for, for this particular video, we're going to have a couple of more videos talking about again, basics of the clotting system and the basic tools here in Santa Barbara has a center. So make sure to be working on your exercises and make sure to reference the projects if you need to. And I'll see you back on the next one. Bye bye. 5. Planning a Project: Hey guys, welcome back to the next part of the festivities. So they work in the continuing with a new project. We're gonna be doing a medieval flag banner. I want to show you a couple of things with this exercise. First of all, how to import the model? Because one of the great things about marvelous designer is that you can actually import other models from other software such as Blender, Maya, 3D Studio Max, and get an image here. Now for this first one, I'm actually going to be providing you with the one that you need. So you're going to go File, Import FBX. And if you go to your folders, you're gonna have this one called banner hanger. I'm gonna hit Open. Now, very important as an FBX, There's a couple of options that you can import right now. We don't want animation, we don't want any cash animation. And we do want to automatically add arrangement points just in case he can figure out how to play some cool arrangement points. This skill is very important here you might think that we need to do this in millimeters because that's the default. But no, actually when we model this in other softwares, in this case, I'm oldest in Maya, we need to change this to centimeters. I didn't notice that it needs to do the proper position, so let me hit Okay, and hit Okay. Now at this object right here is just a hanger and you can move it up and down. And we're going to be using this to create our garments. Were now the garments, in this case a medieval flag. So one of the goofing I want to show you here is usually in other softwares when you're doing any sort of simulation work, you have to set up the proper collision boxes and stuff to make sure that things like collide in the best possible way. In this case, that's not necessarily I could just simulate this. And as you can see, the 3D points here. Let's go here. And if I simulate, you can see that it already knows that it needs to hair right here. Marbles. Even though it's meant to be a software to create cloth for characters, you can actually do all law, the things like Beth sheets, curtains, tablecloths, napkins, like there's so many things, so many easy things that will be a little bit more time-consuming to do in other softwares. And that's why I want to talk about today. I wanted to do a banner and I'm thinking about doing a banner like imagine it's just a little banner, like a medieval banner. I want this to be of course like square. But I wanted to have like some sort of like flares down here, maybe like triangular. So something I want to have three divisions right here, like three little cylinders that are the ones that go through a loop and they create the intersection. Another thing that I wanted to actually, now that I think of it, Let's get rid of this things. Let's do a little bit more of an interesting shape. Let's go back to our brush. I want to do like a traditional triangular shape right here. Now one of the things that we normally see, what this thing is is like an inner trim, like a golden tremor, something. I'm definitely going to add some sort of like inner border like this. I want to show you some free the silent like we're not using any pattern, we're not using anything. I just wanted to create something that looks cool. So I'm gonna go here and I'm going to create the first half of my elements. So I think something like this should be more than enough. I'm going to bring this thing closer to the center so that's aligned. Then we're going to use the same trick that we did before for the pillow. I'm gonna go here to Edit Pattern, grab this intersection, right-click and we're going to unfold now that we want to do on full width symmetric editing? Yes, because if we were one-sided, we wanted the other side to move as well. So now we can go up to this point, then we can just move this up to create the triangular shaped. Look at that amazing MAC. It looks already very close to how we want it. Now. Now they have the shape. And after I move this two points up and down, I actually want to remove the light editing. So I'm going to select the piece right-click and we're going to say remote linked editing. That way we have the shape similar to what we had on the element. Now the first challenge that we have is what? I want to add the visions over here. But I want to add them in such a way that they have the same distance. Right now we have halves. I would like to divide this in a couple of more sections. So this works a little bit better. The first thing I need to do is I need to go to Edit curved points, select that point right there and just delete it the other way. We have a clean section over here. Then I'm going to go into Edit Pattern, select this line again. And there's a really cool tool here called Insert. Insert point or something split. There we go. Split in the split line. We can split this into two segments. That's the most common one. As you can see right now, the ratio is not like even I will have to change this to 5050. But if you wanted to look 4060 30th, you can change the ratio here. We can do by length. So if we wanted to have specific lengths for each segment that we could also do that or whether one that I like the most, which is this one called a uniform split, which as you can see, it will give me, in this case two splits. We want 345 and that's it, Wi-Fi because there's gonna be one section here, one section here. And once I've shown here, and as you can see, all of the sections right now shared the same length. So I know that my pattern is gonna be very symmetrical, very nice-looking. I'm gonna hit OK. And there we go. We have points there. Now, why do we need the points? Well, why are these points important? Because we're gonna be using the SOC sections, this one right here, segments sewing. And that's going to allow us to make sure that only this section, that specific section gets the proper size that we want. Now, I'm going to go into my polygon tool. I'm going to select polygon. And I'm going to click, I'm not gonna, we're actually, let me go back here. Cancel. First. I'm gonna go to my segment tool and I'm going to measure how long this segment measures. And as you can see, it's 124.9 millimeters, which is 12.5 centimeters. Pretty much. I'm going to go here to my rectangle tool click and I'm going to say, Hey, I want the width of this thing to be 124.9. The height, 50 millimeters is, I think way, way too much. Let's do something like 2200 in this kitchen, which is 20 centimeters, right? I'm gonna hit Okay. Now I know that this thing is going to drape over this thing and we're going to create this cylinder. And it should be fairly, fairly easy to do this. I just need to grab the segments sewing tool. And so this from here to here, and from here to the same position because the front side and the backside, they're both gonna be at the same place as you can see, when this thing gets sewn into the object, it should fall exactly where we want it right. Now to help the simulation, I'm actually going to bring this thing like super, super close to the rod right there. This one as well, because the longer it needs for this they are, the longer this thing needs to travel, the more common it is to get some mistakes. I'm going to grab this pattern now. You're gonna say Control C, Control be pasted right here, control C, control V, and paste it right here. Now as you can see, this do not share when I do a normal like copy and paste, these do not share the sowing lines, which is really handy because that means that we can create new sewing lights from this section to this section. And from that section there, from there there, and from there to there. Now when we simulate, look at this, that we get this very, very cool looking banner on our element in, at any point, I can just move this around, changed again the particle density and started giving it more and more weight. However, we're not done. We want to make these things look cooler. We want to make this look a little bit more interesting. So the first thing I can do is I can actually transform this pattern so I can just select all of them. Right-click are not just normal click and move this thing around. But as you can see, if I do this one pattern, it's going to be slightly bigger than the other one they think. Let me just compare it. No, it didn't properly. So now since the patterns are bigger and the sewing line is still the same, we're gonna get the exact same thing we saw on the pillow in the last video where we're gonna get a couple of more wrinkles. Why? Because there's more clots. So you can see we get a couple more wrinkles there. Go crazy here. Like if you want to go like really, really crazy on the size of this, thanks, just go crazy. That's fine. Because when we simulate all of this are gonna get really, really crushed out. And we're gonna start getting this interesting effect. Here. Of course, we don't want to get inside of the rod right there. But yeah, we can change these things around and as you can see where we're gonna get this sort of like crunchy effect. Now remember what we talked about on how to make things like go closer together. That was with the warp and a weft left to right. Let's select all of them. Let's give them a little bit of wet. So let's say something like 90. Now, maybe a little bit more. We can also use the elastic. Remember we saw that one last time. So maybe we do a little bit of elastic problem into a 95 that might help us get a nicer effect. Now, we also know, and this is very important that the particle distance is going to play an important factor in how many or how nice the wrinkles look over here. We've talked about this before. These are small pieces. So if we turn on this mesh thing, you can see that we're actually like really, really low on triangles to get a nice at the information. So it wouldn't be a bad idea to grab all of these guys and then on the particle distance, bring this thing down a little bit more. So let's select all of them. And particle distance that's bringing them down to ten. It's gonna give us more definition. And by obvious result is going to give us this very nice effect on the top area, which is something you normally see in curtains and stuff. And we can bring this even lower, but I think that's a fair enough for now. And look how nice the banners just looking from one side to the other. Very, very cool. Now, that's not that we want to create some more details on this guy. Let's stop the simulation and let's work on the intersections. Like I wanted to do some sort of like gold trim on the inside. So I'm going to right-click and I'm gonna say offset pattern outline, but I'm not gonna do pattern. I would like to the outside level with the heart. I'm actually going to go with the internal line right here. It's gonna give me this thing. It's distance is how far from the edge do you want to place this new internal light? In this case, I do want to go a little bit too far. So I'm gonna say something like 50 millimeters, probably a little bit more, probably like a 100 millimeters. There we go. That looks a little bit better. Maybe too much, Let's say 80 millimeters. Right now I just wanted one off to the big suffices to offsets. The second offset, it's also gonna be 80 millimeters and I might not want that, that might just want a one section of the element to be slightly higher or lower. In this case, I'm just going to do one and I'm gonna hit okay? And now we have an internal light. We select that internal line and we can do the same thing. We can just right-click and say offset as internal line. And this one, let's say just 30 millimeters is gonna be a slim and trim on the inside like this. Look at that. Now if we simulate, this is not really going to change things as much. Yes, we're gonna see a little bit more for crease. And this is something that it took me a little bit of time to understand. But whenever you add an internal line here instead of marble is a signer. It's pretty much like adding a support etch inside of other softwares like Blender and Maya. Because what this is doing is it is, it is actually modifying the, the topology. So for instance, all of the triangles here, the flat side of the triangle is aligned to this new line. It will make it look sharper even though we haven't cut this piece. There's no sowing lines or anything. It's just an internal line, but it will make this thing look like sharper. So keep in mind that internal lines in your geometry injured in Japan or in a wheelchair changed the way things look inside of instead of marvelous designer. Now, I don't want to call it. So I'm going to go here to the sections that I've grabbed this guy, right-click, I'm gonna say cut and then select this guy, do the same thing caught. And so now we should have three patterns. This pattern right here, this pattern right here. Not that one, this one. Let me see it. Sometimes it's easier to move the other one. There we go. It's the big pattern, there's more pattern and then the inner pattern. Let me say real quick. So I'm going to go File Save, Save As. Make sure you save as, and this is gonna be called banner. There we go. Now we can start playing around with some of the elements here. So for instance, what if we wanted this line to be just a slightly bigger? You know what happens when we do this? Since it's a slightly bigger, we're gonna get a couple of extra wrinkles here and there. And this is something I would expect to see on this road banners because it's going to give us a very, very cool effect. Now we're in a position where things were looking quite, quite nice. Usually this banners though, they tend to have a Hamline that's called it's like this support on the outside where the closet sewn onto itself so that the little threats are not loose and you get like a nice little border. So let's add that sort of shape. I'm gonna show you another cool trick here. I'm going to offset another internal line right here. Not as much. 30 is way, way too much. And in this case, as you can see, it's trying to offset on the inside as well. That's fine. I'm going to say just ten millimeters should be fine. Just hit. Okay. Now you can see we have this internal line. This one. It's shaped to not shape one, shape one. I'm going to right-click. I'm going to delete that one because I just want the outer one. This one. Now, I'm going to select this piece right here, the whole pattern. I'm going to select the whole pattern. We're going to press Control C, Control B to duplicate this. Then I'm going to select that line that we just created, right-click cut NSSO. In this guy, we just delete. We've just created this very nice little trim right here. That's gonna be very useful to show on top of this top line. So I'm gonna go to my segment sewing and we're gonna say, okay, you are going to go there. You are going to go there. You are going to go. Sorry, sorry. That's my bad. It's not there. It's actually from here to this upper line, from here to this inner line. Then from here, here, here, here. And here. My sewing this correctly. Let me just go back. I think I selected things in the wrong way. Let's go here. You can see the trim right here. This stream we want to sell to the outside of the element. There we go. Let's start with the outside part of thing and it's gonna be a little bit easier. And I'm actually going to use the free sewing tool. I think it's gonna make it faster. I'm gonna go here to free sewing tool. I'm going to go to the border here. There. Let's go around, around, around. Down. There we go. So that's one. We're going to go to this side. There we go. Now you can see the whole trim is sewn into the little border there. And we can do the same thing from there. Again, let's zoom in a little bit so we can see it better. There we go. That's the whole line. You need to follow the same direction though this is very important and a lot of people make this mistake. If I'm starting here and I'm going like there, there, there, there and all the way up. That's the first one. And I need to follow this same path over here because if I do any different path, like that one where there might do it the wrong way. There we go. Just double-check here that the sowing lines look good. They do. So you're just going to simulate, and now we have that extra ham right there, like an extra little line there, so little bit of a conflict there will just pull it and tuck it a little bit to give them more effect. And that's the line again, that's a very small piece of a geometry. That definitely means that for this one, we definitely want to have a lot more particle distance. I'm actually going to go all the way down to five because I really need this to be like, like low. I'm a little bit concerned about that line. Let's simulate real quick. There we go. Now you can see our headlines looking quite, quite nice there. Strength too. Solve itself, are sorted itself out. Those you're gonna get some of those little effects, that's fine. Just give a couple of a little bit of time for it to properly adjust. We might need more resolution somewhere else as well. As you can see, that's looking quite, quite nice. So imagine this thing on a video game. Like I'm just gonna stop the simulation, imagining this thing on a BET game with all of those wrinkles on a movie, especially if it's not moving that much, it's gonna give you a grade greater, greater result. So yeah, that's the whole thing. I'm actually going to go here and I don't want to do I don't want to show internal lines. There we go. So now we can see this cloth or Laude lot better. Now, I'm gonna show you a couple of extra tricks here. First, let's go with fabrics. I'm probably going to do a cotton fabric for the main, the main thing. So let's do gotten. There we go. It looks a little bit belt but t, but it looks nice. Has some spandex though. Let's see. I think this one's a little bit closer the woven, so it wasn't gonna go here. Let's add this and let's add it to the patterns. It's gonna be there, there, up here, up here, and up here. And of course, this little border right here. Get that nice border. That border by the way, is called the hem. Let me, let me show you real quick. Tailoring. It's called the hem, the hemisphere like this again, the board or were you, were you sold the end of the fabric to make sure that the little things are not like falling out or anything. It's very common in pretty much every single cloth clotting piece or garment will have the hem. Otherwise, the fabric just gets wild. So this is looking nice now. Definitely going to change the color because the color looks really, really bad. So I'm gonna go with a green. Next to green. There we go, something like that, Perfect. Now we're going to look for a silk. Give me just 1 second. Now for the next part, we're actually going to be using a material that we are going to create. We're not going to be using any, any cloth. I'm gonna go here, I'm going to add a new material. I'm going to call this material gold, TRIMP, like that. And we're going to talk about materials later on when we talk about rendering an image, we're going to show you guys here in the final chapter, how to bring all of these garments into three different places. We're going to bring them into Momma said we're going to bring them into Maya and we're going to be bringing them into Blender depending on which software you guys use. And you are going to have to, of course, to set up the materials is specifically for each software. In this case, you only need to do is change this thing the color, would you like a nice gold color like this? Assignment to the nozzle will trim here and we can actually change here the middle miss. I'm going to bring them in on this all the way up. And it's going to give this sort of metallic look. This is not PVR. This is like what's the word like ray tracing, render anything. But it's gonna look quite, quite nice. Now we can simulate, and as you can see, we have this very nice banner ready to go. We can add the more textile self. We're going to again talk about textures later on. We can add like a stencil here. But right now I just want to show you one last thing which is a wind, which is really, really cool, especially for this kind of things. I'm gonna go here to the display options and I'm going to go to the environment. And if we go into the environment, There's an option goal here, show wind controller by default, there is no wind right now or yeah, there's pretty much no wind. But we can activate the wind. And the only way, the only thing we need to do is just press this little button right here to activate. As you can see now, we have when inside of our scene. Now of course, this is way, way too much as you can see that it's a little bit extreme. So let's do a control C there. I'm going to go to the wind and I'm gonna reduce the strength to, let's say 200th should be a little bit more like a workable. And of course we can at any point just like move and transition or things right here. Careful here with moving things a little bit too fast or hard. That makes it difficult for marvelous to really process the way things should be. Let's try and bring this thing. I give you cross the sections sometimes that brings a cloth back to where it's supposed to be not working. I have to reset the treaty government and this just restart, which might be what we were gonna have to do for this particular piece because it's going a little bit crazy. But before we do that, I just want to mention that here in the wind, that direction of the wind is opposite to where this thing is. There's a couple of things that you can change. You can change the frequency, you can change the turbulence. Of course, as we mentioned that the intensity here, so let's bring it down to a 100th. So it's a lot, lot less intense. And you're gonna have a little bit of width. Technically, we can export this animation. So if you create a nice animation and then you'll want to use it instead of Maya or blend around the other softwares. It is possible to do it, but it's not. It's always nice to see this assert us a nice little reference to make sure that everything is working and being modified in a nice way. Straighten this out so that we can see the little corner there, the little point, the nth. There we go. That's our banner guys. So this is a basic exercise I want to show you on this first chapter just to get acquainted with the general workflow and tools that we're gonna be using here inside of marbles is the signer. Now as you know, the way we'd like to structure the courses is by going incrementally into hardened, hard elements. In the next chapter, we're gonna be doing a basic woman's garment. We're gonna be doing a school uniform. So hang on tight and I'll see you back on the next one. Bye bye. 6. Uniform Undershirt: Hey guys, welcome back to the next part of our series. So they weren't going to start with Chapter number two. And as you guys know, the way we'd like to work is we start with small exercises that get us comfortable with software and then we up the difficulty. So I'm not gonna give you board the exercises. We're actually going to do something very, very cool. And today we're gonna be doing a uniform school from Persona five. This is Gasumi nice uniform. Well, every, every characteristic worse this uniform. And I chose this specific project because I think it's gonna show us or teach us some very important things about like Garmin creation. As you can see, we have this undershoot right here. We have this thing right here, which is the, of course the theme. It was the word the coat. We have buttons, we have pockets, we have the pleated skirt, we have the leggings. So there's a lot of law school stuff that we can we can learn from. So right now, I loaded a new scene. I went here to Avatar using female to, you could also use the stylized character, which is more like anime looking. So it actually fits like really close to the personal style. But for this one I'm gonna use this one. I'm gonna go into garments and injured garments folder. You're going to find the T-shirt. We're actually going to load the t-shirt n because we're gonna be using it Acid-base to start working on our character, rather than having to create this patterns from the start. We're actually going to be reusing this and making sure that they look as nice as possible on our character. So here what I'm gonna do is I'm gonna click this button which is called Olive fitting. And this only works on the new avatar. So if you're using an older version of model is saying that this might not work. And the other funding will try to match the garment that you imported to the proper elements that you have here, what your character. Now that we have this, it's time to start modifying this. And one of the reasons why we're using this pattern instead of creating it from scratch is because we don't have, or at least I didn't have a traditional fashion school training. I wouldn't be able to explain to you why we need this sort of like coverage here. I know that we need them for a nice clean shoulder and stuff. But it will be very difficult for us to inferior that we need this or curvatures and this sort of like hills and valleys over here to make sure that the tissue looks as nice as possible. There's no, No problem. There's no stigma associated with using basic patterns is just a starting point and then modifying them to create what we want to create. Now the first thing I'm noticing with this pattern compared to our character is that it's not very form fitting, as you can see, it's kind of like a man's t-shirts. It's a little bit baggy and big. So I'm going to grab everything here. I'm just going to make it slightly smaller. That's gonna give me like a, like a nicer fit to the character. But we still have this like super ugly effect here. And if you've seen any like womens t-shirts, you know that they usually have this sort of like hourglass shape. I'm gonna go here. One of the cool things is both of these guys have the linked editing set or turn on. So I can go here and I'm gonna say at point spline, I'm going to add a point right here and just hit enter. Now that the point is there. Of course we can go here to Edit SharePoint and we can just move this thing in or out. Now one thing I can do is I can click this, right-click this element and say convert to curve point. And as you can see, this is gonna give me a curved point and this is going to look a lot nicer and the log more form fitting now this is the front right now, so I'm just pushing this to the front. We're gonna go to the back and we're gonna do the exact same thing. So I'm gonna go here at the point. Let's add a point right there at the middle. And then I'm going to right-click that point. Well, let's go to the transform point. Right-click and I'm going to say convert to curb point. Or actually, before we do that though, let's push it a little bit. There we go. Now we're gonna convert anchor point because otherwise it doesn't know how to, how to push the curve. Let's go back to Edit career point and just push this thing in a little bit more. Life editing sternum on the back as well. So as you can see, this is going to very, very nicely create this effect on our shirt where we get a nicer form feeding effect. Now you can see that back here we still have a lot of like fabric, a lot of clothing that might not be what we want. So again, just going to select the patterns here, just make them a little bit smaller on the back. That way when we seem late, yes, we're gonna get some wrinkles, which is very common and very obvious, but it's gonna be again, more form fitting for our character. Now you can see there's a little bit of a pinch here. If you want to alleviate that pinch, make sure this point right here. Let's go to the editor points. Let's move this thing down so that it's a little bit straighter. There we go. And it's going to alleviate some of the pressure on that one. I'm going to try to there we go to make it straight to this one, to the one on the back. And then we need to do the same on the front right here. There we go. Now, that should give us a nicer effect on the shirt. Gets it a lot straighter, which might be something that we want. Now we could also modify the curvature up there, but for now I think it's fine because even like this, garments going to be underneath our character. So I think we're in a good position. These leaves, I definitely want to make them a little bit smaller. So let's make those sleep slow but smaller. So again, a little bit more form fitting for a character. And now I'm going to go into the segments. And I actually don't want that point that we have right there. I'm going to add point or just edit point. This one, just delete it. That way when we move the whole segment at the pattern, that's one right here, it's gonna be a little bit easier. So let's just push this down like this. Now as you can see, even though following the rules, when they see me late, this leaps are going to cross the model. This is where attachment points are really, really helpful for us. The only thing I need to do is go up here. Show arrangement points, sorry, arrangement points, not attachment points. Us stop stimulation, of course. Show arrangement points. Select this guy, select the little, this point right there. It's going to rain. Or modify this things again. There we go. Then when we simulate they are going to assimilate a lot better. Now of course, again, if we take a look at the reference here, you're gonna see that the, the sleeps are closer to the wrist then what we have right now, these are a little bit too loose. So we're gonna go to this segment. We're gonna say it transformed point segment. And we're just going to scale this down like this. We can do with shift a little bit there and a little bit better just to try and keep it as symmetrical as possible. Probably a little bit more. That's really flushed to the wrist. And now I do think I want to push this a little bit lower. Load more. There we go. That when we simulate, we get a couple of folds. They're really close to that, to the arm. There we go. That's I think that that's looking nice. I do still think that this will lead to like Flappy. I'm going to reduce the circumference there are the scale. So we get a tighter, It's hydrophilic character. I don't really want to use the shrinkage, weft and warp too, because I don't want this to be like a skin tight, like Garmin or anything. I just wanted us to be looking a little bit nicer. Now here, since we're going to have this sort of like turtleneck effect, I don't want this points to be a little bit closer to the neck. So I'm going to go to this point right here. Again, we're gonna go to edit, transform point segment. And I'm just gonna move this thing closer. Let's start stimulating. You can see that we have a little bit more wrinkles there, which is fine. It's fine. And then we can go to this one right here. And also move this thing in a little bit more. There we go. So as you can see, that's a lot closer to the neckline. Actually describe right here a little bit too much. So let's see if I can edit the curve points. There we go. Because it's a little bit too much for me. I'm going to start especially this one. I don't really like this point right there. I'm gonna try to make it as straight as possible. There we go. That looks a little bit nicer now, this curve right here, I don't like it as much. So again, we're gonna go here. And if we can move this point a little bit down, when we simulate, we can straight or effect that's, should be a little bit closer to what we're looking for. There we go. So that's gonna be the attachment for my neck. Now, for the neck, we need to be very, very careful on how we create the little neck effect that goes. Very common thing would be just created like a straight line and that's it. But we actually need to measure what the actual width of the neck is right now so that our element looks as nice as possible. Okay? So what I'm gonna do, I'm gonna go to Edit Pattern. I'm going to select this segment right here and this segment right here. And it's gonna give me a specific number, which in this case is a 147.2. That's how wide my half of my neck piece has to be. I'm gonna go here to rectangle, click and it's gonna be a 147.2 and height. I think it's just gonna be like five centimeters, so that's gonna be 50 millimeters and hit Okay, that looks nice. The first thing I'm gonna do before I do anything else, we're gonna right-click and I'm gonna say, sorry, I'm going to select this segment right here. So let's go into Edit Pattern. Right-click. I'm going to unfold. And it's gonna give me, Of course, the other half right here. Then in this area we can again show the arrangement points and arrange it on the neck. As you can see there, it's going to make it a lot easier for me to simulate. Thanks. And we're going to, of course do a segment going from here to this side right here. As you can see, this thing is going to be sewn onto the, onto that part right there. Now we want to use the free sewing tool, but we have a problem. Or if we wanted to use the segment tool, we wouldn't be able to do it because we actually have four seconds, like we have the front. And then over here we have the back. That's why we need to use, for this particular case, our free sewing tool, but we need to do it in a very organized way. Otherwise, this thing is not going to be folding the way we want. So the way we're gonna do is we're gonna go here for showing tool. We're going to start here on the center and we're gonna go out. We're gonna start here and we're going to go out. And you can see that we get a nice little blue dot that tells us, Hey, if you want to match that exact length, make sure to hit that point because otherwise the thing is not gonna be even and we're gonna get some weird wrinkles. So again, from there, from the center out to the blue point, that tells me that that's the exact measurement that we're going for. Then we go from there all the way there and we're gonna go, That's the back piece. So that would be this one back here. Makes sure that the seam line is not like flipping anything, that it's going in the proper direction. Again, from here to here. And that will be from here to the back. Now, when we simulate that, we have are very nice neck piece going all the way around our character. So, yeah, that's pretty much it. We got the nice next piece. I think it's looking quite nice. I think it's a little bit tall. Like some of them have the neck really, really high, and other others seem to have it a little bit lower, but this one doesn't to be a little bit high. I'm going to leave it there. Now. I do. I would like to add a hammer to this area right here because otherwise it looks a little bit weird. I know in the concept you don't really see it. But again, we've talked about this and usually clothing will have hems on different parts. To create a Him. We're gonna do something very similar to what we did on the what's the word on the heart and the heart, sorry, on the banner. I'm going to first of all, right-click and I want to add an offset as internal line. And as you can see, this is going to treat them off so that all the way around actually don't want that to be honest. That's my bad. I am going to say here, I'm going to go internal polygon lie. I'm going to start on one side. I would say rather bow a little bit higher like there. And we're gonna go all the way to the other side, hit Enter. As you can see now we have a straight line going through the border for element. Now to create the Hamline, know a couple of different ways to do it. One other options that we have is I can actually select this whole thing where this line first. I'm gonna say right-click, cut and show to create a copy of this guys. And then select both elements. Right-click. And I'm going to say Clone, layer, clone over like this. And then delete this one because we only want that one. That way when we clone this one, we actually got the Hamline right there. It's not when we simulate, you're gonna see that we get the Hamline right there. It's going a little bit crazy. Why is it gonna increase it? Because it's so small, it's a super, super small line. So let's grab both of these guys and change the particle distance to something like an eighth or something. That should give us a couple of more triangles. As you can see, it should give us a nicer result. It's even like it's still too little. So let's grab both of them again and say like three. As you can see, that's a lot better. Marble is going a little bit crazy there with the sewing. It's kinda weird. Kind of like going over and under. See that. I'm going to select this right-click and there's an option that we can use called or there, and we can say bring forward. Let's see if that helps. Because it just seems to be going on the other side. That's fine. Let's delete this first. Let's make sure that this internal hemorrhoid is looking nice you this. So now I'm just going to right-click again. I'm gonna say just layer clone over. And now it should work. There we go. Now we have that very nice Hamline on the top of our character. Now on this one, on all of these pieces, I do think I want to use a little bit of warp in this case because I don't want to have a little bit of elements here, so I'm gonna bring the warp to 90. That could work. And another thing we can do is we can definitely make this thing longer. When we do this, we can start moving this thing down. Let's of course increase the particle distance. Otherwise this is not going to work. Let's go all the way down to five. It similarly it again. There we go. And that's like the sort of like journaling like effect that I wanted to create. They're very cool, right? Yeah, there we go, our elements looking quite, quite nice. I do think I want to make this thing just slightly thinner, just slightly smaller than the, than the next, so that fits our character a little bit better. Now this also has to do with the aperture, by the way. Whereas the option there's an option here on the collision here, the additional thickness collision millimeters, It's a little bit too high, so let's bring this down to like 0.5. And what that should give me is it should go like closer to the character as you can see there, because there's a little bit of a gap. See that gap right there. There's a little bit of a gap that might not give you the results that you're looking for. So just make sure that you change that thing a little bit there. And that should give you a nice little effect. Yeah, there we go. Now we have this nice little neck or turtleneck effect on the character. Let's add the hams on the wrist as well. I think we're missing dose. Here. I'm gonna select this edge loop. There's another way to select natural, so just select the, not the actual, sorry, the segment. And I'm gonna say officer, that's internal line. As you can see, it's only going to offset that 15 millimeters is fun. Just hit, Okay. You can see we get the nice little ham right there. And the same, same deal. Just grab this one codon. So then select that one Right-click layer clone over having an extra one right there. And both of these guys, Let's say particle distance three, because they're really small and simulates. Going to give us some nice humps. Let's grab the sleeps. Well with them, of course, particle distance. Let's bring them all the way down to ten and simulate that we should be able to move this thing up a little bit. And the inquiry than nasal effect, again, if we want to give it just a little bit of tightness on the button, just a little bit, not that much, but just a little bit. I might grab this guy and say, Hey, you know what, give me a little bit of weft here. Again like an IV. And of course it's going to give me a more like skin type effect. And that's going to look a lot closer to the concept as well. Yeah, that looks pretty, pretty nice for my undershirt. I think it's a little bit high here on the chest area. So again, let's go to the segment, section at pattern, like this guy and this guy and just bringing this thing lower and simulate. There we go. So we have a couple of wrinkles around the stomach, which I think are going to look quite, quite nice. That's it. The first part of four, Persona five garment is ready, the top part. So on the next video we're gonna be doing the leggings and the skirts. So hang on tight and I'll see you back on the next one. Bye bye. 7. Pleats: Hey guys, welcome back to the next part of the first series. Today we're going to continue with the skirt and the leggings and that we're gonna be talking about pleats. So let's get to it. So pleats are these really interesting things about both clothing. We do splits in a lot of different garments, pants, skirts, some dresses. And they create this very dynamic and very interesting look. Now the problem with pleads is that in the real world and in the 3D world, they're a little bit tricky to show. Now they're not impossible. My new it's relatively easy to do. However, it is important that we understand what pleats are. I'm gonna try to do this in paint here real quick. I'm gonna try to explain how this happens. So normally you have this sort of like straight piece of fabric. And what we do with the plate is we fold this thing into a couple of options. And then we push one section of the cloth outwards, one section of the cloud inwards, and then we sewed together the top part. So imagine that we pushed outline will get something like this, like a 3D thing going up into space, kind of like this. Then you saw this two lines together and these two lines together. And what's going to happen is you're gonna get a piece of cloth that creates this sort of effect. Like this, like a kind of like an accordion. So if you do this enough times, of course, you're gonna start creating a really nice interesting piece. Don't worry, we're gonna do this in marvelous. Just wanted to give you a kind of a graphical way to do it. Now there's two main pizza they want you to memorize. We have this thing called the box bleed, and then we have this thing called the knife plead. The knife blade is what I just drew three folds for each pleat. And the boxplots are two knife blades together on opposite sides. So you get this sort of like boxy effect. Those are the most commonly used pleats that you're gonna find. Thanks if thankfully our marbles actually does have a way to create them relatively easy. I'm going to grab all of this patterns right here and just move them to the side. We don't need them for now. We can actually select everything here again and just keep Control K to freeze it so that we don't have to work with it for now. Now on this side, I am going to create a belt for my script. In this case, if we again take a look at the reference, you can see that this is actually a, a pleated skirt. However, it has a nice little border right here. So this tells me that the police are only going to be opening at the belt at this height right here. It's gonna be a little bit tricky to do that, but it's not impossible. So I'll show you how to do it. First, we need to create a belt. So let's do a nice little belt here for a character or something like that works. It looks nice. Of course, just one-quarter of the size. So I am going to make this longer. So I'm just going to go into segment, select this segment right here, and unfold. Let's delete those points. And then of course go here and unfold again. That's going to be my belt. Now I'm going to go into Arrangement points should range from points. There we go. Let's go right there. Now if we simulate, of course, our belts gonna just fall down. Very important that we need to store this together. So segments sewing from here all the way back. And when we simulate, our bell should be leaving right there. Now, here we have a little bit of a problem. And that's the fact that this clade right here, like creating some sort of like errors. One thing you can do is you can actually go here to the paws, the simulation. You can go here to the scene browser, which is the elements that were have selected. And if you take a look here, we have all of this patterns right here of this pattern to these. We can select this patterns to these up here and just, just hide the patterns. So let me show you, I'm just going to grab a little bit easier if we do it over here, right-click and we're just going to hide the pairs here. So in that way, when we simulate, we are going to be playing with the batteries. As you can see, it's still being affected by the pattern, but we're not seeing it. So we can work with this now. Why is this having a problem? Well, because we don't have layers and layers are how we organize where each pattern is going to go. So technically this shirt is going to be under the belt, right? So let me hide this. So let's just show through the pattern and let me unfreeze it for just a second. And what I'm gonna do is I wanted to share to be under the skirt. Therefore, this piece right here should have the layers set to one because this is going to be over the element. And then when we simulate, now, as you can see, this is going to nicely set up on top of the elements. So that way we should have a nice little transition there. And we're gonna be able to work on our skirt very, very nicely. Now we can grab this thing again, Control K. And again, if we don't want to see it for now, just hide the pattern for now. And I know that this thing is sitting on top because at some layer one and you can have several layers, so don't worry about that. Now, for the skirt, There's a little bit of math in bold. To make sure that this skirt is going to look good, we need to make sure that we're following something called the rule of thirds. So since we're gonna be folding the cloth three times to get one pleat itch. That means that we need to have three times as much fabric to get this thing to work properly. So I'm gonna go here to this option selected the pattern. And this tells me that we're at 241 units. So I'm gonna create a new polygon. And I'm gonna make this 241 units like that and hit, Okay, I'm going to grab this polygon. I'm going to show you a nice little trick to paste a couple of this polygon. So Control-C, Control-V and Control-C, Control-V. There we go. Now we're gonna go into segments. And there's a very nice tool here with segments when you select two segments, so they're the same size, you can right-click and say merch. And that's going to, of course, merch, the segments. Do this again. There we go. So now I know that this big piece of fabric is going to be three times the attachment point that we're eventually going to have up here for that, for the belt. Now you can of course just do the math, multiply this by three, and create a polygon with the same size at the very beginning, she want to show you the merch store, which is really, really cool. Now, I'm gonna select the points here. So let's go into the points. Believe them, because we don't want them. The first thing I need to do is I need to divide this into the amount of pleads that we're going to have. If we take a look at the reference, you're gonna see that going from the front, it's 123456. I would imagine it's like probably like seven pleats are probably a little bit more. Let's do a pair number. So it's gonna be eight plates on this site and of course eight plates on the other side. Very important to check the reference because otherwise we're gonna get way too many places. If we need eight pleats on one of the sites, that means that based on what I just explained them, paint right there, we're gonna have to buy those splits by three each. So that means that we're gonna have to have 24 sections over here to make sure that depletes look as nice as possible. Now, if I tried to add an internal line right here, It's gonna be impossible for me to create this with departmental I didn't verify is higher if I say like different numbers, it's gonna be impossible for me to find the proper section. We're going to use the same thing but with two lights. When you select two lines, you can right-click and you're gonna get this opposite asked internal line along the curb. Now this one, as you can imagine, it's going to give me the divisions along this script. In this case, there's no curve. But if we had a curved surface, this will be really handy because again, it will be able to offset this on, along the curve. So we mentioned that we want eight pleads, so that's 24 deficiency that we're gonna need 24 divisions. But since we're gonna be pasting this with the other half of the element. We're going to need one less division because we're gonna have like an extra one at the border. It's kind of like when you're doing and he mentioned that you escape the last frame because it's got a repeatable, very similar. I do want this to be straight lines and I'm just going to hit Okay? Now the only problem with this thing is that they are not points. So if I go here to transform point segments, sometimes these things do not reduce those points. And that's a big no-no because later on we're gonna be using something called the depletes sewing tool. And that if he doesn't know that these are actual points, it's not going to soak properly. So I'm gonna select all of the internal lines right here. I'm going to right-click. Just select everything here, right-click. And I'm going to say we're actually know, we're gonna have to select this. Let me go back to where I just created them so that everything is selected. There we go, right-click and you're going to say extinct trim. At point. We're going to extend this lines to the pattern outlet. That way I'm perfectly sure that there's a point right there. I use that one as well. They're very commonly because sometimes when you do internal lines, you just miss it by a millimeter. And it's very annoying when this seems don't work properly or the sewing doesn't work properly. I always say sewing, I think suing, I always make that mistake. So sorry if my pronunciation of the burps not properly there. Now how can they use this thing which is called the pleats fault? Because imagine having to move and X2 is it sewer? So give me just 1 second. I don't want to make the same mistake gold throughout the course. I stand corrected. It's, so, so it's a really weird word because it's an E. So I think it's sue but it's not. So the pleats sewing this one right here, a will allow me to, so all of these elements either very nice way and the way it works is very easy to just click on one side. Here, blades fault, sorry, rather than the police fold first, you're gonna click on one side, drag all the way over here and double-click and it's going to tell you, okay, which kind of pleat do you want to use? Do you want accordingly, please. Do you want the box split or do you want knife with as I mentioned, the knife blade and a box with probably the most common ones. And in my case, for this particular skirt, we're gonna be using a knife police. So we're gonna use the knife bleed. We're gonna tell it, hey, each three segments of my element is going to be a plead. You can change this, you can make those more complex or more simple. And I'm going to keep that three segments because that's the standard way to do a pleat and everything else is going to remain the same when they hit. Okay. You're gonna see that each plead gets a different color. That tells me which edge is gonna be the outer edge, which edge is gonna be the inner edge in which edge is gonna be just like an intermediate edge, which is this one right here. Now, if I were to simulate here, right here, we would get the tweets. As you can see, it's very, very nicely. So see how we get this nice fooled. Because the sewing tool, this plead full tour, sorry, it's creating the proper transition that we need. Now we need to, so all of these things to our belt, of course, here's where we're gonna be using our pleats, a sewing tool. We're gonna go from one all the way to the other. And see how we don't get actually, I'm gonna start here, the center. And then here, there we go. So here see how we get one like sewing pattern or showing section for each bleed. It is super important if you tried to assume this manually or use free zone, it's not going to work, it's not gonna make, it's just not going to function properly. So it's very important that whenever we're working with pleats, we use the pleats sewing two. Now when we simulate, this is what we're gonna look at that pretty cool. Let's just a matter of helping this thing a little bit here to make sure that it unfolds nicely and add that stuff bleed. Now again, I'm just going to go here to the garments and turn off, show internal lines so that we can see the big plates. Because if you remember from the concept we tend to have, well, we have this sort of like big pleats right here. So yeah, that's pretty much it. That's the magic for this or that's the only thing that you need to do. Now it's gonna be very easy. I'm just going to grab this guy, control the whole segment, of course. Control C, Control V to create the other half of the skirt. Make sure you didn't have any sewing. So we're here, see all of those songs. We need to remove them. So remove all of the songs. There we go. First, let's show this to the actual skirt. So we're going to use again our pleats sewing tool go from here to here. There's gonna go from here to here. We have all the sections there. We simulate. And there we go. Let's help this thing a little bit. There we go. So now our plates are nicely laid out with the, with all of the different elements here. Again, something's fireworks are going to act a little bit weirdly because it's trying to lead to the same thing. One thing you can do here, you can strengthen them just for a second. Let's just strengthen them. That's going to keep them as a little bit sharper, kind of like if they were made out of leather instead of cloth. And now it's just a matter of going here into our segments sewing. And so from here to here. And from here to here, when we seemingly, that's where we're gonna get. We're gonna get this very nice. Skirt. Both of them right-click, let's strengthen. That falls a little bit nicer. There we go. We have our nice little square here. Let's select all of this pattern over here. Let's bring it back into the simulation, releasing to the visibility. So show through the pattern. There we go. We're going to start getting our script. Again. If we check our reference. This is scared of courses, really, really short, really tiny. But this is a great thing about a skirts and plead step. Once you have this, it's very, very easy to just grab the pattern. Just make it smaller within want to make this super, super small, but something like now, one thing that I didn't know this, you can see here on the concept, There's a line right there going like exactly through the element on the actual like a garment that we don't have the lines. So that's the kind of thing that sometimes you're gonna have to play around with some things. You're gonna get this sort of effect. And sometimes you'll want to get, or you're gonna get this sort of effect. So how could we simulate that effect? Well, there's, there's two options. First of all, we could just add an internal line. We can just go here, remember the internal lights. And then we add an internal polygon language, one from one side of the plate to the other. Just hit Enter and repeating that on the other side. Remember Holly mentioned that internal lines. It's just like adding an edge loop. So now when we simulate, you're gonna see that we have bad line right there and it's gonna cut through the whole thing. You can see that the normals are looking a little bit weird there, but it's gonna give me that sort of effect where the fabric is creating the effect that I'm looking for based on the concept. However, I don't think that's the best idea for us right now. Another option would be to make the belt a little bit wider because we don't really see the belt is gonna be covered by the jacket, right? We could make the skirt lower or the belt a wider. Let's bring this white are down here. Eventually. That's gonna give us the sort of effect. Do we have way too much like resistance here? I'm not sure. Let me remove this guy right here. Like the unfreeze, unfreeze this. Everything's simulates. Now I'm going to bring the this patterns. Let's make them shorter. Let's bring this lower as well. There we go. No, that's way too short. Way, way too short. Her parents are gonna be making a huge scandal. That one, we definitely need to make this a little bit wider because otherwise we're not able to get down here and bring this down. More and more and more and more down, lower, lower, lower. It feels like this thing has a little bit of shrinkage, but I didn't see it. It's kinda weird. Let's go back. I think, I think we can keep it short for now. Let's just keep this thing longer. Not super long. We can make it slightly bit shorter because the, again, the check is going to be covering most of the other parts. So there we go. That's pretty much it. I still think this a little bit too thick now. So let's make this lower. Let's simulate. And there we have it. Now, it will be a nice idea to add a little bit of color to it. Now I don't have the exact pattern or we don't have this exact textile for the whole thing. But we can go here to the fabric and there's one that's called, I think it's called a partner or something. And it has this sort of like a caliche effect. So, oh, no, no, no. There we go. Let's say real quick before anything happens, save the project. Let's stop the simulation for now. There we go. Just to add a little bit of texture to the whole thing. Just needed an element. Then m. We don't want them to him right now. Let's just, let's just call them fabric for now. Just double-click here. Let's go back to our fabrics real quick. And let's just add this to the skirts. The texture is looking for that texture. We could add like a different section, but in this case I'm just going to have like a dark dark color. There we go. Just to make the skirt look a little bit different from our fitted for a turtleneck shirt. So now for the leggings, we're just going to go for those ones. So let's grab all of this patterns. They'll let you start gonna be super, super, super short because it's just something that's really, really skin tight. So in this case, we are gonna be doing this a little bit more in the freeway. So I'm going to go into my polygon options. We're going to start up here, go about there. Let's give it a little bit of space in-between the legs like that. Then we're just going to follow the shape of her life. Do we need to do it curb? Not really, because again, it's gonna be really, really tight. So we can keep it a little bit higher like that. There we go. There we go. Let's add a new fabric. Set a new fabric there, and let's make the color like completely black. There we go. Now of course we're going to go into the polygon section, right-click. And here's where we're gonna be using the symmetric pattern with showing to create the other side of the element. And of course we're gonna show from here to here. And then we're gonna grab both sides. Right-click, copy, right-click, paste. Then we're going to move this thing to the back. Like this. Now we definitely need to change the, what's the word the layers on the garments. So all of these guys are now going to be layer one. All of those guys are now going to be layer two. All of those guys are now gonna be layer 0. Okay? So now if we hit over, of course we need to do the free sewing tool. We're gonna go here to free psych. Everybody gonna. So from here to here, as you can see, we get the other line as well, Perfect. And then we're gonna, so from this inner line to this inner life, we get both sides and we simulate the layers go there onto the section. As you can see, we get this very nice legging. Let's just push it out. Might need to give that LED would've been like maybe this is way, way too tight. So again, just grab all of the patterns. Let's give them a little bit more width and simulate. Trying to get the scene here. That's again, the the avatar not, not working properly. That's fine. Very easy fix which has got this guy right here. Let's show the arrangement points again. Since this case aren't going like in a very nice direction, we should be able to just do something like this. Do the same thing for this one's just there. When we simulate, it should perfectly match or at least match this things a little bit closer. That again, There we go. This a little bit of shoes are always tricky on here on the marvelous. But as you can see, our leggings are working quite, quite nice. Now, I do think this fabrics a little bit too, too tight. Let's keep more geometry here. Let's go down to ten. Let's see if that helps to lower the elements down a little bit more. Because I do feel like it's a little bit to tenths right now. I mean, of course the what's the word that jacket is going to help. It's going to definitely bring this thing closer. There we go. Then he says, Look what things are looking nice as you can see, we have three pieces of her uniform with our our turtleneck sweater, we have our skirt, a pleated skirt, and that we already have the leggings as well. So I'm going to stop the video right here, guys. And in the next one, we're gonna start working on the most complicated asset, of course, of our character, which in this case is gonna be the jacket itself. It's not super difficult, but you're gonna see that they did in regards a little bit more like a thought put into it, so Yep. Hang on tight and I'll see you back on the next one. Bye bye. 8. Uniform Jacket: Hey guys, welcome back to the next part of our series. Today we're gonna start with the uniform jacket over character. So let's get to it. Now. This is where we left off that you can see we have the leggings, we have the turtleneck shirt, we have the skirts wall. And it's looking quite, quite nice like I really liked the general look of the whole thing. You can see that the skirt of the pleats look really cool. The legging is following the thing. I didn't take out the shoes. The shoes or something that you can turn on or off. It's very easy on the aperture section if you go onto your accessories, There's a couple of shoes. For instance, I downloaded this one's from the basic library that are a little bit closer to what I would expect. But if you want to go for the high sexy heels, of course, use them as well, which is the ones that she had before. Yeah. Thanks. Are looking nice. Now we need to do the jacket. However the jacket is allowed, but complexes, you can see there's a couple of things that are going on here that we need to make sure that we get right. The problem is we already have a lot of things going on here with a character. If we tried to build a jacket in this specific file, things can get a little bit tricky. So I'm actually going to save the project and I'm going to open a new project. Now the cool thing about opening a new project here is that we're actually not going to get rid of the avatar. The other two are still here. We're going to be able to save the second project, this one, the new one that we're starting. It's a garment later on and they just imported on the final selection. If we can make our jacket look good here, I know that it's going to look amazing on the other one. Let's go onto garments and work in that re-import the shirt. Again. Just re-import the shirt in this case, I'm not going to use all of it because I don't want the mannequin to change sizes. We're gonna start right about here. Now, here's where taking a look at a jacket patterns, for instance, might not be a bad idea. So if we take a look at the Jack and pattern female, you can see that one of the things that we need to do is we need to have a sort of like a cut on the site. Like we can't have this be straight like a T-shirt. You can see how we have this thing as distinct. So cold the darts I'm going to talk about shortly. We need to have this sort of like nice waste on the code. What our darts, darts, one of those terminologies that we use quite a bit in like children world. They allow us to remove some amount of fabric without, without losing the shapes that we have here on the pattern. I'm gonna explain a dark or a guy, I'm going to create a dark real quick about here. First, just to show you how it works and there's a very easy way to do it. There's this internal dark option right here. And if I just draw a dart, you can see that we get to this like a rhomboid shapes on this area and especially on the bus area for, for female characters you want to have or you usually are going to have some darts like around here. You should have tried to point at the corner of Dart with a nipple because that's like the apex of the volume change of the bust. That when you simulate what this dark we'll do is we're going to start from one side to the other, like this. So what's gonna happen is they're gonna reduce, as you can see, the amount of cloth that we're using on those sites. And darks can be super, super big and it can be as small as you can, you can do and change starts in a very interesting way. Now, one thing I need to mention this, this is information that Taylor's no way, way better than I do. I'm just a CG 3D artist. If you go to fashion school, of course, there's gonna learn where to properly place them and how to use them and stuff. But we can use them just like what I'm showing here to experiment and find the best place to position dots. Now there's a very, very common that female Dart that we use quite a bit. So the first thing I'm gonna do is I'm gonna grab this two patterns. Let's change this to Like opaque so that we can see through all the patterns. I'm going to scale this down a little bit too big for a character right now, let's simulate. There we go. That's a better fit to it. And as you can see, the hips of our character or this hourglass shape. So what I'm gonna do is I'm going to go into the ad point spline options and I'm going to add a one-point there. And of course it's gonna be on that side. And then I want to make sure to add it as close as possible to this other side right here. Then if we go into Edit curved points, we can actually push this points in. What this will do is they will create a dart. We're creating a dart here on the side of the character. But the difference is that we're not doing this on that, on the whole piece of fabric. It's two pieces of fabric that when they connect, they create this sort of like dark shapes. Now, when I do this, you can see we get this away way nicer fit on our character. We can play around with how tight or not we want the dark to be. And of course, the tighter this and the more cloth We're gonna be reducing and the better fit we're going to have a look at that. It looks really, really nice. I think it looks comfortable. It's falling nicely on the hips with the character. And we get this very nice effect. If we take a look at the reference again. Sorry, oh my God. Sorry guys. I got my sneezing attacks. If we take a look at the reference again, of course, on the concept that things are gonna be like really stylish, really like skin tithe and stuff because they want to sell, they wanted to make things look interesting, right? But you can see that in the real-world there's gonna be a little bit of wrinkles in a little bit of changes on the effect. You can see that back here on the back itself. We also have a lot of room for improvement that there's a lot of things here that a lot of extra cloth that we really don't need. Usually on the jacket. Let me show you here. Usually on the jacket you're gonna have some darts as well. It's very, very common for the jackets to have darts and this is the kind of things that you're gonna see. See this right here is a dart. It's just how the dark looks. However, this is a slightly different than the data we just saw. Because even though we can have this sort of dark where it's like a diamond shaped art. You can also bring the dark all the way down to the jacket. And that's also going to create a different effect. So right now I think we're gonna go from the traditional darts. So I'm gonna go here. And let's ensure like a dark right about there. And then let's edit the pattern and just move this thing. Let me go to transform point segment. Oh my God, Come on. Strength to do something that I don't want to do. There we go. We're gonna move right about there. So when we simulate now of course we need to so this together, so we, so from one side to the other, what that will do is again, they will reduce, as you can see, the amount of cloth that we have. And now we're going to have a nicer looking back for our, for our suits. So darts are again super, super, super important. So how could we do a dart to reduce all of these things with you? I think it would be nice to have a dark going all the way down to the waist. How can we do that? Well, a couple of different ways. So I'm gonna show you one that's really, really fast and really quick. Again, we're gonna go into the ad point spline. We're going to have one spline right there. And then if you go into the edit curve point, you can right-click and you can say at Dart, and this will add a dark just like that. Now we can modify this start and say, Hey, we wanted to start to go all the way to the top right there. And it automatically, so sit together as you can see right there. So when we stimulate, There we go. This looks way, way nicer. We don't have as much volume of cloth like down there. And we're getting really, really nice effect. By the way, wrinkles are fine. Some people are really scared about wrinkles. I think they look cool and they're, they're part of carbons. There's always gonna be some wrinkles. If you're really wanted this to be like super, super, super tight, then yes, we will need to modify these things a little bit more to make sure it works better. Now the one thing that I'm noticing here is see how we have this very nice straight like front here. Again, following our concept looks very straight, but then it has this weird pinch and then it goes forward. The reason why this is happening is because the darkness actually reducing some of the volume. So this length right here that the back length is no longer the same as the, as the front length. And that way we're getting a pool going up, right? So we need to actually push this guy down a little bit, down, a little bit to recover that sort of straight edge. So just forced distinct just a little bit down. Same one for this because we're trying to recreate a curve and that's gonna start straightening things a little bit more. We could also go here and add Laika like a love of a curve on this area. I think that's gonna help. There we go. That looks a lot nicer. Now we can push this thing up again, up again. In the beginning. This is what I like to call free styling, freestyle tear learning, where we're gonna be like a moving things around to make sure that everything looks as nice as possible. There might be a couple of points where you're going to have to be like trying to figure out what the best, like, the best approaches to any specific piece. Now, we need to separate the front part of the shirt to get a nice fit here for the bonds and stuff. So I'm gonna go to the front and I am going to remove the sewing line. Here, the sewing length. We're gonna remove this thing. Now I'm going to create the buttons. So I'm going to create a button. I'm gonna click. Then click here. We just want to move this thing to, sorry, just go. Let's go here. It's gonna be my first vulnerable. Let's take a look at the, okay, so it's quiet right around the Boston area. So it's about there is the first one. Then as you can see, I'm trying to find the number. That's 30. We're going to try to move everything at 31.6. And there we go. So it's gonna be like my four buttons right there, actually go lower and lower. So probably like above there. There. There, there we go. We're gonna do the same thing here. It's the option button and then we're gonna do a buttonhole on this other side right here. You can actually, you know, what we can do, we can actually go into the buttons. I'm going to right-click and I'm going to mirror, are duplicates, symmetric pattern there in the exact same position. And then once I have this one right-click and I'm going to change them converted into buttonhole. There we go. So now there are, there are a buttonhole. Finally, I'm gonna go here to the options and I'm going to use the fastened been tool to tell each button where HP fascinating too, which in this case is of course the opposite buttonhole. We simulate this where we're gonna get my love of concern. Let me, let me go back. Is this thing the other way around? Okay. So I'm gonna grab. Okay, there we go. Now let's start one by one because sometimes the fastened button doesn't work as intended. As you can see right there, it's kind of like overlapping in the way that I don't really like how it's trying to go to the other site there we call it. That's why they want I don't want this one to go through there. Like that. Perfect. Now let's do the second one button from here to here. And then let's do two more from here to here. And from here to here. The final one didn't make it properly through. Let's help it out a little bit. A little bit of push and pull. There we go, until the button is outside of the cloth. There we go. Perfect. Now you can see that we get our buttons for our element. Now buttons are like seems. So what I mean by that is they have their own sort of elements over here like fabric, sorry. We go here to the buttons. We have this default button, which is the one that we're using. You can actually change the color. So there's gonna be a red button because that's the, that's the color of the button that we have for the suit. Yeah, that's it. As you can see, our like our fit for the pseudo is looking good. I really like how this is looking. We have this little opening very similar to what we have right here. If we don't want to have as much opening here, since you are now separated the governments, we can actually edit this curve point and just bring it down a little bit more. Or like give it a little bit more depth towards the front like this, a little bit more room on that area. And we're going to be crossing over the element. We're gonna be talking about the colors are very, very soon. Let me just check the time. Let's see how we're doing. Okay, we're doing fine. Before we did the colors, I want to do a couple of other details that slightly easier for now, which are like this, a button or the pocket. Thanks. Now, we could technically build a pocket that works and it's perfectly functional. But in this case, for this particular one, we can actually just simulate the pocket would be. So here we go. To do the pockets. As you can see, the only thing that we needed, It's a little bit of piece of fabric that's gonna be sewn on top of the element. This is where again, internal shapes are really, really, really help. We haven't broken the symmetrical thing by the way, we only broke the sowing lines. So that's also something to keep in mind. I'm going to go into internal rectangle. We're going to add little rectangle right here. And I'm going to kinda like make sure that this thing with you, it looks as close as possible to how it's supposed to be. This is way too much by the way. Bring this thing back. There we go. Simulate because it's making this little button to have a hard time. The other but now he's having a hard time. So there we go. There we go. That's a lot nicer. Eventually we're gonna give it this jacket a little bit of thickness with the over under method that we've used before. But for now, we're just going to keep it like that. You can see we have that internal shape right now, which seems to match the orientation or location of the element to be a little bit higher. So I'm going to just think a little bit higher. Just make it a little bit smaller, right about there. Perfect. And it's symmetrical on both sides, like we have the same thing on both sides. Now we need to create a little flap, the little clip just gonna be like outside of the pocket. Just to kind of like a, like a carver thing. And the easiest way to do this as just right-click and say Clone *** pattern. This will clone the pattern, as you can see right there. And now it's just a matter of sewing this thing on top of the elements. So I'm gonna grab this thing. I'm going to use my free sewing line. In this case, since this is going to be a fake pocket that he says One is to be able to start there. And we're just going to go all the way around like this. We're going to do the same thing. So select this pattern Control-C, Control-V. Go over here. Free sewing. We're gonna so this one to this one. There we go. Now when we simulate a force, these things are gonna go toward, are supposed to be going, they're going to float around and go into their specific elements. Let's straighten this out. And it's the simulation against just simulation of a pocket. Let's bring this out. Command button. Maybe we need just a little bit more resolution. So I'm going to bring this down to like 15. That might help with the button. Go. There we go. It's a little bit better. Let's just straighten this thing a little bit. You can see the pockets are giving us some interesting folds, which is perfectly fine. Here. The darts, if we want to remove a little bit more Club because I do still think there's a little bit too much cloth there. We can again go into the editor points and just move the script point in like make the darks longer. And of course when we stimulate, we're gonna have a little bit less. Let's cloth back there. That's also going to, there we go. It's going to strengthen our jacket quite a bit. There will be a really tight fit though. I mean, it's maybe a little bit uncomfortable to move with, but it's going to look really, really stylish, really, really nice. Cool. Yeah, Now we're going to do, we need to do the sleeps and we need to figure out a little bit of work here. You can see this one's right here, like this. Elements like the sleeps are a little bit to to white. We're gonna have to figure those out. And the first thing we can do with the sleeps is just grabbed the segment, the pattern here, this two guys and just make them a little bit longer. Let's say I wanted to play nicer. Let's delete that point right there and bring this thing down just a little bit. Stimulated again. Helped patterns. Let's give it a little bit more length. Similarly, the GAN, again, they can see that on a real piece of clothing, it is gonna be quite close to the body, but not super, super close. So let's grab this guy, this guy right here. And we're going to transform point segment. Let's bring this in like this. Now the sleep should be a little bit better. That's a lot better with definitely need to bring this in as well. There we go. That's a lot of nice lot closer to what I would expect to see on that on the suit. It's not skin type, but it's a lot, lot tighter. Now, I want to show you a nice little trick here for the shoulders because as you can see, usually in this sort of garments, there's like a hard border right here on the, on the elbow. You get a sharp effect. And right now we don't have that sharp, sharp effect. So I'm actually going to be adding a piece of fabric that's gonna be living underneath this main piece of suits gonna leave right there. And we're going to use that to strengthen the union and create this sort of like, again, sharp effect on the arms. So the way we're gonna do this as relatively simple first, we need to know how, what's the distance for the segment of that we want to have? Because it's gonna be pretty much like an on this upper side. The whole segment, as you can see, it's 477 points. So it's probably not gonna be DAD long. Another option that we can do is we just used our free sewing tool. And if I do this, that's a 100 units. So that looks a little bit better. Let's do a 200 units squared. I'm going to use, I'm going to create a rectangle. And it's gonna be 200 units. And it's gonna be really, really small, like probably like ten millimeters, so just one centimeter. There we go. Now this thing is, I've mentioned it's gonna be living underneath the main like chess piece or the front piece. Council. What I'm gonna do is I'm going to go to my sections here. And let's split. Uniform split. Of course. The same thing here. Split, uniform split. There we go. What I'm gonna do is I'm going to show this half to the front. Blue points, say a 100. Couldn't be more exact if I, if I try it and then they weren't right there. The 100th or actually it's from there to there. That's from middle point. It should be from middle point down. No, I was right. It was from here to here. From here to here might look weird there, but it's looking nice over here. Yeah, so this is what we're gonna do. So this thing is gonna be sewn together right there. What we're gonna do is I'm gonna change the particle distance for this thing to a very low number, like a five. I am going to select this option called strengthen. We've seen this one before. And what strengthened will do is it will strengthen the whole fabric. As you can see, we create this very nice sharp line over here. Now what we're gonna do is I'm going to stop the simulation. We're going to bring this thing forward. Can select the arrangement points again. Because we're going to reposition this so that it simulates on top of that element. Here's where we can also use a layers. So this pattern, rather, this guy right here, I'm going to select layer one. When we do this, it's gonna be on top of them and see what's happening there. That little piece IS that I added is making the Schindler way, way, way stronger than what we had before. Now if you went to exaggerate this a little bit more, you can just grab this piece over here, going to the pattern and just make it a little bit bigger. Now as you can see, we're gonna have a nice line over there. Of course, the more resolution we have there, the sharper this is going to look, but it's kind of like adding a support the piece of fabric there to make sure things look a little bit better. So that will be my that would be the advice that I would give to, to get this sort of like sharp effect. Now there's, of course other ways to do it, but I really liked this one. Now of course we need to do this. I'm going to right-click and I'm going to clone pattern with light blinking or just just mirror paste over here. Let's copy. Let's just paste. Let's make sure that it doesn't have any seams to note does not. So this together, from here to here. Then from here, it will be here. We're going to select this line right here, so that's the layer one. Okay, Perfect. Select this guy, right-click and strengthen and just simulate. You can see this is gonna be underneath the element and this is going to push the arm up a little bit right there. So it's gonna give us a very nice sharp effect. On the other shoulders. The button is gone crazy again, come onto my friend. You can do it. I know you can do it. Here we go. So that's it for this one guys. I know we went a little bit longer than usual, but this is just the basic construction of our foreign coat and the jacket. And the next one we're going to continue, I think more details because we're still not done. Hang on tight and I'll see you back on the next one. Bye bye. 9. Uniform Jacket Details: Hey guys, welcome back to the next part of our series. Today we're going to continue. We did jacket details, so let's get to it. This is where we left off. I just changed the size of the jacket just slightly on the scale here, just still a little bit more. Had to move the bunch again to make sure that they worked properly. But now, let's fix this thing right here because it looks horrible. Now, the reason why we have a lot of cloth heroes, because of course the shoulders a little bit too high. So I'm going to use my edit curved points as well here I'm just going to push this thing a little bit closer. So that should reduce some of the cloth that we're using. There's also a little bit of tension over here. It seems to me that it could be coming from the from the fact that the what's the word the, the length of the arm, like the section. If we take a look at the pattern here, this one right here, a hundred and ninety four hundred ninety four, it's no longer the same. So this one was a 184 and this is 254. What does that mean? Well, we have more cloth over here than what we have over here. And we know what happens when that occurs on the, on a garment. Like we're gonna get this or wrinkles. So again, we can go to this section right here and edit the points and just start reducing the arm length and get it as close as possible to a 196 doesn't have to be all the way down to a 196. Just buy. Even if we need to delete a couple of points, that's fine. There we go. Because that will start reducing some of the wrinkles that we have. More reduction here. We're not reducing enough. Let's go here on this one, the dark side of things. There we go. So that's 195 or the liver them or just have some some room because otherwise we're gonna start getting that super weird stretch. It's all about trial, narrow trial and error, and fitting clots onto the character until it looks, until it looks okay. Which in this case I think we're, we're getting closer. You can see that even though the reference, we'd have some lines right there that does the dark. There's like a nice little dark there, hunter on the bus swell. It seems like a dark. Yeah. That's starting to look quite, quite nicely. Now let's talk about the colors, because scholars are one of those things that can get a little bit tricky when doing visceral garments. But it doesn't need to be either can actually be relatively easy to, to do. The way colors work usually is you would have excess cloth like right here, like this one right here. And then it would fold back onto itself, like we would create a piece that would fold back. So technically this point right here, for instance, this one, this one right here, it will go over and then they will fold back onto itself. We're gonna do it a little bit different because I've always found that trained to do it or doing that with this or clots can get a little bit tricky. So I'm gonna use an internal line here. I'm going to create an internal polygon line. And we're gonna go from that point right there to about where the element finishes, which is about there. Just enter. Now we're going to have a line. Now what I'm gonna do is I'm going to change the curve point like this one right here. I'm going to convert to segment for it or not. Second convert, I'm just going to delete the third that I want right there. It's not where it's supposed to go or something what I wanted to do. So let's go back here. I want to edit transform point segments. This segment right here, went to be straight. We're going to, you know what? Let's keep it simpler. I got to where they tried to fix that one, but I think it's gonna be easier to just set the coincident. So, and now we have a different piece. So now we just delete this piece. This piece, we don't need it anymore. And we can select this section to see how long did this is two hundred and two hundred and eleven point four. I'm going to create a polygon. It's gonna be 211.4 by, let's say just 50 for now. Keep okay. Then cancel. Then we can select one of the points and just delete it. And we're gonna get a triangle, which is a little bit closer to what we're looking for. Now I'm gonna grab this guy and this guy just going to click and March. As you can see, we get this interesting effects so that when we simulate, we're gonna get this little flappy thing that's moving or just transitioning to closer to what I want. Now that we have this shape. Now I'm gonna go here to the internal lines. I'm gonna say internal polygon line. We're gonna go from that point to that point. And I'm just gonna stimulate now this specific piece, just, just this pattern right here. Everything. Select a pattern. This pattern right here. I am going to say get caught. And so now the reason why I wanted to do this is so that I can select this piece as a different piece of fabric and say strengthened. When we strengthen, I'm gonna be, it's gonna be a little bit easier to fold this thing to the other side. Let's just keep pushing here. I think it's a little bit brother. I'm seeing the element right here. This thing is supposed to go like a little bit brother like this. Let's simulate. This is going to go there. I'm just going to stop the simulation now. It's Spacebar. And that's gonna give me the first part of my color, the initial segment that I would expect to have here on my, on my government. Now of course we're gonna select this guy again and eventually, and we're just going to strengthen when we simulate this thing, just false on top of the other sections. So that's why I was looking for a strengthened as just like a crutch. I think that's the, that's the proper name to help us with the element. Now the other pattern on this other side, it's very similar. Just going to grab this guy. I'm just going to copy and paste. And then I'm going to mirror or just mirror paste. It's fine. Just delete this one, like this one over here. Just so we can go from here to here and it will stimulate, we're going to get the other part of the color. Not bad, not freaking bad. Now you can see due to the tension that we have here, this piece of the color is trying to go all the way back, which is fine. And we can let it go back or we can just click it and go here. Stop the simulation. I'm just going to click here and I'm just going to force it. So right now, I don't want the flaps of the colors to be moving to other sides. Now, if you take a look at this pattern right here, well, you could interfere and you wouldn't be wrong. But you could even fear that there's a specific way in which we need to build the back color for this, to actually create this specific shape that we're going for. It's not just a rectangle in that set. So here's where we need to develop our 3D kind of mindset and understand that there's a couple of rules that we need to accomplish. So again, I'm gonna use Paint Tool. This is krypton create Lisa free painting software. So let me turn on my tablet real quick. Just 1 second. There we go. So we have the neck, right? This is the head of a character and this is the neck. So if we were to pull the color out, we know that we need to go around the neck. And if we see it from the top view, we need to attach the color to all of the circumference of the neck. So yes, that means that the base of our color, it's gonna be completely flat. It's gonna be like a rectangle. And this rectangle has to have the same measurement, which we need to find off of the neck of the neck like a pattern. Then as you can see here, it goes up and it pretty much stays close to this pattern right here. But eventually it flares out. So it's going to go like this. But then we're gonna do something like this. This is the actual pattern that we're gonna have to look for are built to create a specific shape. Because again, if we were to move this, this whole thing all the way up, we would expect to see this shape right here because when we fold this, I'm gonna try to fold in a drawing. If we follow this, we're going to create this sort of thing like this. And due to this little things right here, they're going to go back in space and then we're going to have the other ones over here. That's what we need to find. So we know that this measurement is gonna be the neckline. Then we're gonna have one mushroom. Write that right here is this one. I mean, we're gonna have a specific height, which is the height of the color right there. How high we want this to go. And then we're gonna have another little connection here, which is this one right here. And then we have the little triangular area. I know it can be tricky, but it's not that difficult. Let me show you. I'm gonna go back here. First. I need to find where this point is. So let's go into segments, section pattern. And if we go here, this is the second, so it's 44. Like this last section of my element is 404 before we touched this little triangle right here. And that 44 plus another 44, it seems to be not so ADH or something. It seems to be 132.7. I'm going to go into my rectangle tool, create one rectangle, a 132.7. And let's make this not so big right now. Let's do five and hit. Okay? So this is half of my, of my color. Of course we're gonna go here to the Edit Pattern, click, right-click, and then we're going to unfold. This is gonna give me the other half of my color. I'm going to grab my pattern. Let's show the arrangement points. I'm going to bring it back here like that. It should be fairly easy to follow all the way until this point on how we're gonna be doing the sewing, right? So we're gonna go to sewing, free sewing. We're gonna start here. Here. We're gonna go from here to here, or actually from here. From here to here. And we're gonna go from here, the first blue point. Then from here to here. It's gonna be a second bullet point. On the back. We're gonna go from here to here. I'm just going to be from the mistaking that one right there. And then finally we're gonna go from here to the center. From here to the center. Now we simulate. We get the color, color is there. It's nice and it's doing what we want. But it doesn't have the proper height and it's not doing the proper folder. So of course, we're gonna go to the segments. We're going to go with this segment right here. Bring them up to make this color a little bit bigger. And now I need to create the lines like the main line, the actual line that's going to be doing the division. Again, there's a lot of ways to do it, but I think the easiest one is to just create an internal life. I'm gonna go here with internal polygon line, like right about there, there. Let's hit Enter. Then. I am just going to stimulate. And remember what we talked about internal lines, the fact that they worked like support edges. That deadline right there should help me, like unfold this thing a little bit easier. Because otherwise comes to a little bit of a pain to do so. Now, we could also try to doing the strengthening thing. Nothing right now it's going to work. So as you can see by just moving this around that line that I created, it's helping me form the color. There we go. Went somewhere else. There we go. And this is gonna be the color of the shirt. Now, I want to create this effect right here where this color, because right now I'm actually let me copy this image. There we go. So right now what we have, well, we have created is not the complete line. We've created this line right here, and we have this line right here. So we need to create this section before we appended to this section, because if you made the mistake of saying it, I'm just going to add a point. And so these two together, you're not going to get the shape that we want. So we need to create this new shape on the sides of our little, little color right here. So going from this guy right here, coming in late to create a little shape, that's gonna be the shape that we have right here. So I know based on this shape that from this point, which means this point is right here, this line right here, actually the internal line that we have, we can just use that internal line and just push it out, but I need to weld it first. So remember what we did with the blades click. And I'm going to say extend trim and that point pattern outline. There we go. Now if I select this point, actually let's delete the line. There we go. I just wanted to point that we can push this point like this. Now the ideal thing would be to make this symmetrical. So let me see if I can do this. I don't think I can. I mean, we can just call it later on or if we find the exact number. That's also an option. I'm just going to push this out. Let's see here we're gonna get that little effect right there. That line right there. That's the line that we're gonna be sewing onto this section right here. So this line right here. Now, we don't want this to be super big, so we might need to bring this thing down a little bit like this. And as you can see, the little corner that we would expect to have is no longer where we want. Again, we also might need to move this line out. Now I know this section and I know that distance that's 34.2, but I don't even need to know the distance. The easiest thing would be to just copy this or just a free so this thing, but I don't want to do that just like that. I actually want to have like a symmetrical piece. So I'm going to delete this points. And we're gonna select this guy right here, click and unfold. It's going to treat the other side of the necklace again or the yeah, the next piece we need to, so again, I'm gonna go to free sowing over here. We're going to go first. So we're starting from here to here. Since they're there. Then from here to here, from there to there, to the end. There we go. Now, where are you going to go from the base here to the base there. That's the one on this side. Yes, I think of this And we're gonna show it to the side like that. But as you can see him, another little issue here is I don't want to start all the way to the top of the rhomboid shape. So if I don't want that section right there, I just want to show it to half the section. So let's try instead. Like half of this one. There we go. That's a little bit closer to what I was expecting. Seems to be working fine. Now that direction and things, it's the other way around. So let's go forward. The vase. There. There we go. I think that's work. That's the same thing here. From here to here. From here to here. Waiting to reverse it will reverse it. But now I think we need to reverse it. Because the normals are a little bit inverted here. That tells me that it's this other way around. Sorry, not my bad. So it's from the base here and there, from this space up, there we go. That's the one. Again from the base here. Let's first delete that sewing. Free soaring from this base there. Then on this side is from here to here. Now when we see me late, There we go. We're gonna get the proper interaction that we're going for. We're looking for on the cloth. That's it. We have created our color. Now we want the color to be a little bit wider because I think, oh, actually let's phrase this thing. There we go. There we go. That looks a lot better. Then that was just a matter of making sure that we find the proper the things. I think this color is a little bit too high. So we might need to move a couple of elements here and there. If we need a little bit, like a bigger color out here, like maybe change this thing a little bit here. We could like a bigger flap on both sides. That could also be an option. But in this case, I think, I think we're in a really, really good position like this is looking quite, quite, quite nice. And the general look of the coasts looking close to what we have here on the reference, I'm actually going to change the pose real quick just to see something here because I'm a little bit worried about when she brings her arms down. I'm gonna go here to the posts. I'm gonna go to this more relaxed boast. And I want to see the fit of the garment on this specific bolts, which seems to be looking quite nice. Let's push the button again. There we go. Thank you, Mr. button for staying put. And there we go. Yeah. That's pretty much it guys. We've successfully finished this nice jacket for our character. I think the arms are looking quite nice. There's enough room for everything. You could, of course, make the difference like a little bit smaller, change the fit slightly. But I really think that we're in a really, really good position. Again, taking a look at the concept here, whereas it, the only other thing that I see is that certain areas have a little bit more thickness to them. I'm going to show you that real quick. The other thing is the fact that we have this patch here on the chest. So let's do that real quick. For the patch, that's probably the easiest ones. Epec, very easy thing. It's just an Internet rectangle. We're gonna go like right there. Cancel, there we go. And then just select Pattern, right-click and clone this pattern, have this right here. I'm actually going to make it slightly bigger, slightly bigger to have a couple of wrinkles. And that was just a matter of free sewing. This thing. I'm going to grab this guy. I'm going to go into free soloing. We're gonna free, so this thing into the main pocket right there, simulate and there's a bucket now, it will want to get this or pocket a little bit more volume because right now it's just like a patch of cloth. You can actually end. This is what we're going to start doing pretty much with a lot of the pieces. We're just going to grab this thing and we're going to say layer clone over. Remember when we do that, we not only create a new layer, it actually already so sit together and for instance, this overlayer, I can make it a little bit bigger as well. We get a couple of extra wrinkles there that might look interesting for like a patch. So I'm gonna do the same thing for pretty much everything. I'm gonna grab this guy. The color pieces. I definitely want to start with those. Not the support pieces. We don't really need the support pieces. We do need the pieces right here. And I'm going to right-click and definitely the back right-click. And I'm going to say layer clone under in this case, let's break this down. What this will do is it will create a new set of crawling everywhere. And this will give you a little bit more volume, so it will look a little bit fuller. And that's of course going to make it look way more realistic because this is what you would normally have. Like cloth has a certain type of thickness to it. It's not just like a thin piece of paper. Come on, come on. Don't go crazy. That's the simulation going crazy like it's trying to overlap things that are not supposed to be overlapping. As you can see, if we rescue it from there. My work, let me control C. Let's start piece by piece. I think that might be a little bit easier just to see which ones to behave properly. So let's start with the arms and we're going to say layer clone. Under. There we go. Simulate. The arms are one of the ones that are creating some issues there. It seems like it's correcting itself. Let's actually let me before we do that, let's go back to the original post. Was this one right here. Let's simulate to make sure that there's no, No issues. Now let's start trying this. I especially like the two pieces that they really, really like. We'd like to have this on, will be the color. So let's bring this up. And let's simulate and see how this look. There we go. And as you can see the color there is, it's trying to move up. That's because it has extra layers of, of clotting. So I'm gonna select this guy right here. I'm gonna reimburse normal on both of them. So flip normals. Flip Normals. A worst-case scenario like if you're really trying to create this sort of like hard line and it's not letting you because it's becoming a little bit difficult to control. Worst-case scenario, you can use something called attack to cloth, which is this one right here. Like, like attack. Literally just grab 1 on the characters like this tack on avatar or tech. You go 12. And then when you simulate, there's gonna be a little pin right there. No, there's no harming you in. And then using the tax. Usually on the real-world, you're not running around with texts. But for this kind of things, especially if we're gonna be breaking this into a character garments for, for games or something. It's totally fine. Totally, totally fine as long as it, as long as it looks nice. One thing that we definitely need to do is we definitely need to increase the resolution on the colors, on the color pieces. Because the resolution right now it's a little bit too low. Let's go all the way down to ten. That's definitely going to help her relax it as you can see it it falls a little bit nicer. There we go. Let's just help foods with overall shape. Cool. I definitely want to grab the front and back pieces. I do want to give them thickness. So again, right-click clone under and see how that looks. There we go. See how that gives us a lot more fullness to the suit. Let's go back to the fabrics. Definitely. Let's add the fabric to the suit. So let's add a new fabric. Let's add this dark, dark gray fabric because I really want to see how this thing looks. The whole thing. Quite nice, quite, quite nice. Pretty sure. Let's just assign a new one. I think it's gonna be easier to just assign a new one to everything. And that works a little better. There we go. There we go. So now that we have this ready, now that our, our cloth is ready, now what we need to do, and this is gonna be the end of the chapter, which again, I apologize that we're going a little bit longer than usual, but for this sort of demos, I find a little bit easier to do it this way. Let's just push this out. There we go. Let's save this real quick because I haven't saved and it would be a shame if we lose all of this. So let's save the project. Welcome to our chapter. You're going to find this in your jacket chapter. Jacket. Let's call this cool yak it, perfect. Now I'm going to say File Open project. Let's open the school uniform project. And let's open it. This is what we have. Let's bring the avatar back. We don't have an avatar. That's fine. Let's bring an avatar. So this is what it should be, the arbitrage that we're using. Yes. There we go. I'm just going to say file a project and we're going to add the school jacket to this brush so you can see it. Okay, we're gonna add, we're gonna add the carbons only and we're gonna hit okay. We'd like to know I didn't want to do that. So as you can see, that's the jacket here of course, like whoa, of this pattern for jacket. Let's select the layer link for the. Let's save this real quick and just simulate. Wait for everything to go out. Now, the fact that we have cloth underneath the jacket will also help the jacket still a little bit more full because the cloth is creating volume. That will also make it make it look a lot nicer. Well, that's the stuff that we don't need the layer information anymore. So let's bring the layer back to 0. Let's resume the element here. And let us just helped a little crazy bottom there. Come on friends. One way we can help this. We know that all of this is working, so Control K to freeze it. Let's just start with this. That way It's only day. The jacket simulation. Let's try it again. Don't go crazy, man. There we go. Now itself. Perfect. So yeah, there you go, my friends. As you can see, all of our governments are already and our character is looking amazing. Look at her, ready to go to school and be another NPC inside of, instead of, instead of the game. But one more thing that I want to show you something real quick. Remember this one, the cotton one that we're using. I actually found the pattern for your for the school sqrt. If you go into the Chapter two, you're gonna find this pattern here on the texture map of the fabric. You're gonna load that pattern. And that way you're going to have the pattern under skin. We'll talk about patterns and how they work and how they interact later on as well. But yeah, this is, this is the end of chapter two. As you see, marvellous is a I would consider it to be really simple software. There's no both tools we're using pretty much the same elements over and over again. But the way you use those elements in the way you interact with those elements, the way you of course, are creative with the elements. That's what's gonna give you the best result here instead of the software. Yeah, hope you guys like it to make sure to get all the way to this point. And I'll see you back on the next chapter. Bye bye. 10. Using Patterns: Hey guys, welcome back to the next part of our series. Do they weren't going to continue with chapter number three and we're gonna be using patterns, a couple of them to get some nicer stuff. First of all, let's tell our little avatar here that it's time to move on and we're gonna be working with someone else for now. I'm just going to go here avatar and isolate, select, delete all avatars. Now I'm going to go into the aperture section and we're going to be using a male character. So we're gonna go here to the male character and remember all of this characteristic, just erase here. They are available for you if you're subscribed to the full version, the only thing you need to do is just click on this button right here and then we'll download it from the site. It just stores them on the Cloud so that you don't have to use all the stuff. I'm gonna grab this guy because we're gonna be doing a medieval, like a Viking kind of look. And I think this guy is the closest we'd probably have, like a biking. Some of the other ones are of a different ethnicity for the time periods. So in this case, this is the character and the, in your chapter three folder, you're going to find two, whereas it can give me just 1 second. There we go. So there's gonna be two references. The first one is this one and this is what we're gonna be starting with. Before we actually jump onto the, onto the garment itself. We need to understand what the **** is going on here. Because usually when we take a look at the pattern, they're gonna be saying and telling us a whole bunch of different things. This should write here. There were, say, it has a specific measurements for a specific kind of character. And this is the first thing that I want to make very clear about patterns. Partners are really good, but there are more a reference than a Complete Guide. So if we were to trace this, use the exact same measurements and then make it so that it simulates Santa for our character, we might not get the result that we want. That's very important to know because a lot of people think that the parent is going to be like this magical solution. And there's a lot of sites that even sell patterns and they're good, they're great ways to get more referencing. And it started the project. But the problem is that you need to understand that each specific characteristics, specific person is gonna be slightly different. So your job as a tailor and in our case has three yards, is to make sure that this thing is in the best possible way. Whenever I see a pattern, the first thing I want to see properly, how many pieces do we have? We have the body, which is a very square body, doesn't have the same sort of looked at we've been seeing for shirts and stuff. We have a sleeve fairly, fairly East to understand. We have this thing called the, I'm not sure if it's pronounced who said or go set up this, this little like squared that gets sewn onto the inside of the artistic, give it a little bit more flair. We have the next event and we had wristbands, and that's it. That's pretty much all we have for our characters. So we're just going to bring this in and we're just gonna go here into the element or into the section right-click. We're going to say add background image. We navigate to our folder and we'll select this one right here. Now, the scale, the ideal thing would be to get this into a nicer scale. So let's say something like three hundred, three hundred. There we go. I'm gonna move it to the side. I usually don't like working with patterns on top of my characters, but if you find the pattern that fits the character before, you can trace it on top, and that's, that's perfectly fine. The first thing that we can do, well, my bath, I will forget about canceling this thing. There we go. So again, 300th just hit. Okay, there we go. The first thing we're gonna do is the body, this body right here. As you can see on the, on the page here are the options were expecting to have the character that he posts, which we don't have. But we can, and here's what we can do. We can go here to the character and select, remember this show X-ray Joints. I can grab this edge right here and this edge right here. We can rotate them. So they're in a T-Pose. It's not gonna be a perfect T-pose because we don't have the properties like the exact properties of the elements. What's gonna be really, really close. Now the deformation might look slightly weird because here the shoulders, they're way too low. But if we wanted to have the tuples, we can definitely have it like this and it's gonna work just fine. By the way, the arrangement points is still working. Everything is still working with this jury instrument points are like linked to the mesh itself so we can move the character and posted, create this sort of thing. Now over here, I'm just going to go into my polygon creation tool or rectangle tool. And I'm just going to create a big element right here like this. Now, see how it doesn't even matter because this is strong. So that's why it's very important to understand the patterns. Again, they're just the guy that you don't need to be like, like something that you're always going to be using. As you can see here, it says that this is the shoulder, this is the other shoulder and this is the domain part of the body. If we were to place this on top of her character, it's not enough. It's not gonna be enough to really fold nicely on top of the character is gonna be really, really slim. It's supposed to be 6170 meters on this side. But if we take a look at the pattern right here and we check, you're gonna see that we're only at 47 centimeters. So that means that my pattern is a little bit too small for what we're going for. So I'm going to select the pattern and let's just make it a little bit bigger. Let's select this again at the pattern and we should be 65. That's fine. This is a lot better. It looks a lot nicer over here. Now as you can see, we have a circle and we do have some measurements for the circle. Do we need to match the measurements? Measurements perfectly? No, not really. And in the medieval times they were not super savvy about like a lot of calculations more often than not. And that's why you see this in very square shapes. More often than not, we're just caught like patterns together and sell them as they could. In this, I'm gonna go into the internal shapes. I'm going to create an internal ellipse. And we're going to start right there. And I'm going to have roughly pinpoint where this thing is supposed to be, which is about there. Now of course, I would like to move this thing to the very center of the element, which is right there. I'm going to right-click, I'm going to say right-click the pattern. I'm going to say cotton, so, and then this pattern right here, I'm going to delete. We have a hole on death. Now we're going to position this. Unfortunately, we couldn't use the the points right there. I don't think it's going to really make a whole bunch of difference. The attachment, but there's no really an attachment point that we can use. So I'm just going to move this thing. Let's rotate this around. We're going to just pretty much let it fall on top. Now in this case, I am going to go into the neck because if I let this fall from the head, it might not find the proper direction to go into the head and it might slip through other sites. Now, if we do this, we have like a, like a poncho in Mexico, we have this things called Serapis and they're kind of like this just longer. Yeah, there we go. We have our first piece of fabric. Now, as you can imagine, we're going to have this sleeps just leaves are gonna be part of the elements in this. Leaves are gonna be sewn onto these areas right here. But we're gonna be using free sewing. We're not gonna be using like traditional sewing in this case. Let's do the sleeps now we're getting some measurements here. So let's try and match them. Just gonna go here, click and it says that we have 5550 centimeters by 65 centimeters, so it will be 650 hit. Okay? This is where we get the other way around. So let's just move it like this. See how it doesn't even match. Like the proportion of measurements is not correct, but that's fine. That's part of the as part of the deal. So I'm gonna grab this guy. I'm going to right-click, I'm going to copy, and then I'm going to right-click. I'm gonna say mirror paste right here and then this one, and this one I'm going to click again, I want to say apply linked editing or symmetric pattern with showing. There we go. So now they're connected. If I grab one of this and they show the arrangement points of my guy, and I move it up here, for instance, you're gonna see that we get this. As you can see, the sleep goes right there. As you can see, this is a really long sleeve. You can even see the pattern here. It's gonna be a very puffy shirt, which is perfectly, perfectly fine. I'm going to grab my sewing tool and we're going from the top, or let's go into segments sewing from top to the bottom. And that's going to happen on both elements. So if we seemingly now, you're gonna see that we get this very, very puffy. Sorry, my bad. I did this the wrong way. Now, why did I do this the wrong way? Well, because I played this thing in this long direction right here with over here, they actually went the other way. So that's something that we've mentioned before. We need to rotate this guys so that when we select these guys and go into the Pattern Options, the direction of the grain of the, of the element. Here it goes in the proper direction. There we go. There should be it. Now, Let's just make sure that we are grabbing the proper segment. So it's gonna be from here to here. Am I right? Yes, there we go. So now we simulate and as you can see, we're going to get this super long puffy slip right there. That's it. We get the beginning of her sleep on both sides. Perfect. Now, I'm going to select this guy right here. Since I went to, I went to have symmetry on this guy or not. So much of it, it will be easier for me to show both of these guys in a symmetrical pattern. We need to convert this piece into symmetrical piece. So the easiest way to do it is first of all, to go into the points right here and say split the universe, split. There we go. Do the same thing over here. Split and then uniform split, sorry, Right-click. Split, uniform split, hit. Okay. Then we're going to use our internal lines section to draw a line from that new point, that center point, hit Enter. And then from this point to this point and hit Enter, we go back to selection mode. Select these two guys, right-click codon. So now it's the same piece, but now we have a line down the middle. And what we can do is we can select one like the other, right-click and say applied linked anything geometric pattern. Now, if I ever do anything on one side, like editing a curb or something, it's going to be editing on the other one. And that's pretty much it. That's all we want to do. We need to, of course, so the segments together or actually sorry, they're not really showing a song. Seemed like everything is working exactly as expected. Now, we're gonna, I would like to find the middle point on this section so that it's a little bit easier too. To create the connection to our sleeps. Again, we're gonna go into selections and we can actually select the two patterns. In this case, I'm gonna select this one. There's one right-click and we're going to split both of them with uniform split. So as you can see, that the work on this or not, it didn't work. Okay. So we need to do it one at a time. There we go. So now we have the split on both sides and on board sleeps. And now we can use our very nice and trustee trusted pretty showing two. We're gonna go from here to there. From that point to the blue point because we know that that's the point where this thing is gonna end from here to there. And affordable point. It's already happened on both sides, as you can see right there. Now the great thing about this is since now we do have the information of where this thing ends. It's gonna be a lot easier to just so this line together see how everything falls into place. And this is, I was talking with some colleagues of mine that this is something that we were discussing. Marvin was a secretary. Pretty easy tool to use. The tools right here is all of the pattern tool that sewing tools, they're relatively easy to understand. The trachea is how to properly think about the characters and the cloth creation to make sure that this looks as nice as possible. What I'm gonna do, I'm definitely gonna do is this is way, way too short. So let's bring this thing down. And probably not that low, like about there. And this one, let's bring it up as well. There we go. Perfect. Now it's not the same distance. We can make it the same distance. The ideal thing would be to make them the same distance. So I'm going to try to eyeball it. There we go. That's fair enough. That's close enough. So now again, when we simulate, we get this hole right here or this separation. So now we need to, of course, you see that kind of created like a dart somewhere. That's fine. It doesn't look that bad. So now we need to show this to open sites right here. In this case, I do think I'm going to use the segment showing. And we can go from here. I believe it's here. Nope. We go to here and here. And that should show both sides. Let's simulate. And yeah, there we go. We have that nice little effective there. Now this looks like a pillow blanket or something. It doesn't look really, really nice, are really, really cool. But that's come on, marvelous helped me out here. I don't want to recent this. Pull this out. Yes. It looks like an I got I was pulling it out from one side and then we've got it on the other side. I'm wondering if I sold something wrong. I think, I think I might have done something wrong. Let's do free sewing instead. I'm going to go here to the free sewing tool. We went to a free so from this bottom part to the connection of the arm, from this bottom part to the connection of the arm. That should be the line. There we go. That's a lot closer. Now our element is looking quite nice here. Now as you can see here, we have two more pieces. We have the neck bend and we have the risk bit. On the picture here you can see the thing that happened is relatively small. So this is what's going to be creating pretty much like the tightness that we're gonna see here on the upper side of our character. So in order to do that, I mean, we can again just follow this order. We already know how to do a neck pain. So I am going to go to the character right here. I'm just going to create a nice little polygon, something like this here I am going to be using the the aperture to kind of get the idea of how big is it should be. I don't want to have a little bit of breathing room. There we go. Let's show the arrangement points. We're gonna make this thing jump to the next section here. Yeah, that seems fine. Now I'm gonna go back to the forum posts. So let me select post this here. Let us go back. Will be cool. Let's go look at V pose first. We'll do one of this like more relaxed pulses later. There we go. Now, it's just a matter, of course, sewing the segment from this side to this side. And when we stimulate, we're gonna get that thing right there, the color. Now if the color is way too big or way too thick, this is where we can change it. And it's really, really simple because this pattern controls everything there. So just make it slightly shorter and shorter here so that when we simulate we get this. There we go. That's a lot closer to what I would expect. And again, if we take a look at the reference here, you can see that's quite, quite forfeiting. It might be a little bit longer, I think might be just a little bit longer. Now, one of the magic things is going to happen here as you, as you guys already know, is that this segment is only 470 millimeters, so 47 centimeters. And this one, if I take both sides, that's 380 on one side, endocrine and an 80 on the other side. There's way too much fabric over here and wait, a little fabric here. So what happens when you have a garment that has more fabric than the other one, wrinkles, we're gonna get that Ra equals telling like getting pleats, but without the over-complication of the upload of the Plato means. Now too. So this properly, again, it will be a nice idea to split this. So I'm going to split the uniform split. Just two splits are always super helpful because they allow us to find a precise. It right, so I'm gonna go here to free sewing. We're going to go from the center. Or actually we're gonna start on this guy. So we're gonna go from here to the center and back. We're gonna go from here to the back. And then we're going to go from here to the center and back. We're going to go from here to the back. As you can see, we have the full thing here. So now when we simulate root, we're gonna get a lot of false. This intersection right here. Now here's what I'm seeing, that the color is not as strong as I would like. I would like it to be a little bit stronger. So I've probably will be making it smaller. Go Let's seemingly it again. Still not making exactly like a one. We can also use a little bit of elasticity. Remember that's the elastic one. There we go. Ratios of ADS way too much. So let's do like 90. And that way the color is going to have a little bit of elasticity. And it's gonna be bringing the whole club in. And we're going to get those nice little effects on this side of the character, on the side of the cloth. Thinks it a little bit too much steel. So let's go through like 95. It's a little bit stretchy but not super stretchy. There we go that way at least we can hold the, the element, maybe a little bit bigger, just a tad bit. This is the, one of the fun parts about marvellous. You're gonna be just like trying things out. They might've been trying to do this in ZBrush from Maya where you're going to have to do a lot of trial and error and he takes a lot longer. That's why the software so amazing. So yeah, that's it. Now we need this leaps, of course. And as you can see, the wristband is very, very similar. I'm actually just going to copy this guy. So Control-C, Control-V. Let's go here on the wristband. Of course, this is way, way too long. Let's make sure that there's no stitching. Sometimes when you copy things you get stitching. Okay. We do have one station, but that's fine. Let's just arrange from points. Rachel points, and let's go there. There we go. We're going to of course, duplicate this Control C, Control V. Then we're gonna go one to right-click and we're gonna say symmetric pattern which sewing. And the technically should get a pattern over here, but I'm not seeing it. Let me select this one and get it there. There we go. Now we simulate the pattern is going to be there. I think that's way too big of pattern, so let's select both of them, make them smaller. Similarly it again, there we go. That's a little bit more manageable. I would say that was just a matter of getting this guy. So where they're supposed to go, this one goes here, one goes over here. You can erase your patterns in any way you want it. There's no hard rule on how to do it. And we're gonna go free soloing. All of this, all of that. Careful there I did it the wrong way. Remember if you're doing from one side to start on the same side so that the stitching and matches matched on both sides. So now when we do this, that we have this very nice cool looking shirt. Now, there's a couple of things that I wanted to change. This is again, this is one we're gonna start working a little bit more on the, I would call this the, the free creation thing. You can see we have this codeword here that will be a nice car to have and it's really not that difficult to create, but we need to create in order to get a nice effect. Also, we have this things right here, the little what was her name? The Gazette said? I guess I'm not sure if I'm pronouncing that right. I'm not sure if it's good set or Gazette, but this thing right here, this guy right here, It's a rhomboid little shape that we sometimes so into elements are into patterns to make sure that the stress of the parent is not as much. Think of it as a rebirth dart. So instead of calling the doctor way to reduce cloth, we insert a dart into the element to add a little bit more cloth and make sure that things are not as stressed from the pattern here. What I'm gathering from the fact is that they want to insert a Gazette, right where this thing it's inserts. So instead of having this thing right here, like, just like the stitch the way we have them. They would like to have a nice look to separate there. So can we do it? Is there a way to make it in a relatively easy way? And the answer is more or less, not that difficult, but yes, we can add it. So I'm gonna go here to the internal polygon lines going from here, from the basis of our, of our point. I'm going to go in like five centimeters. I think it's a good number. There we go. Then at a 45-degree angles by pressing Shift, I'm going to go all the way out until we hit the line right there. I'm going to hit Enter. And then we're gonna go from that point and 45-degree angles down here until we hit the line. And that should be entered. Now to make sure that these lines are going to the position that I'm looking for. I'm just going to right-click extend our trim and at 0.2 pattern outline, that's shoot created the element, this line we don't need. Actually, I think we were already there with sometimes sometimes these things are not touching the parent outline that could cause some problems. Now as you can see, they measured at 69.3. So this one measures a 49.1. So I'm gonna go again to my internal line, but now on the sleep themselves. And it was 49.1. Let's try to make it as close as possible. 49.2 and then shift. We go there. Enter, shift. We got there. Enter, perfect. Now we've created the Gazette, as you can see right here. If we simulate, there's gonna be like, oh, just going to be like a new rhomboid shape on there and that room, which right now it's not doing anything because we haven't changed any of the lines. But there's gonna be adding some, some interesting effects right now. So what I'm gonna do two against me, too simple. We don't want to over-complicate things. I'm going to delete this internal mine. See that that's a problem because it's still leaving everything. That's fine. That's this guy, this guy, this guy and this guy. We're gonna say right-click codon. So there we go. So now the total triangles are split on both sides. By the way, what I'm gonna do is I'm gonna grab this guy, this guy, this guy and this guy. And he had right-click March. Now we should have the two little triangles, which is the goseq. Remember this is one of the square right here. That's the thing that we have here. Let me see if I can delete this line. Yeah, we can. There we go. Yeah, there we go. So now we've successfully remove the piece, but right now we haven't really changed anything because as you can see, this points are doing exactly the same thing that we had before. We have to move this thing. So let's move this a little bit closer to the center. And what I'm gonna do now is I'm gonna move this point out. Because remember, there will be like creating a dart and we don't want to create the dark. We just wanted to have a straight edge. And then in that straight edge we're going to show in this diamond shape. Now, when we simulate, as you can see on that specific area, a little bit difficult there. That specific area, we're going to have a little triangle, little triangle shape. Let's go back to surface sheath. There's gonna be a little triangle shape that should be giving us a little bit more breathing room. So let's just select a cell and see where it is. Because it should be sown in. Everything was in. I'm not seeing any swings. Let's see segments sewing. Yeah, it's not sewn in. So let's so the sin we're probably going to have to change the sowing lines here. Where's the concerted? Oh my God. Oh my God, guys. I made a horrible mistake. My God, I can't believe I did this. We did create the gesagt, but it was on the upper side of the element, but on the lower side. So, oh my God, that was my bad. Let me, let me go back here real quick. And the removal of this triangle shape that we created. Yeah. Yeah, I'm gonna stop the video right here. You guys sorry for going over. You guys know that we normally don't like to do any sort of timeless and stuff. So yeah, it's small little mistake. I did the cassava and plays. It wasn't supposed to be. It was supposed to be down here. So it would be like right about here. The triangle that we need to create will be around there. So I'm going to start to do right here. And then the next one we're gonna be talking about the details for the shirt. We're gonna go back on this Gazette. I'm going to find out how to properly pronounce this thing. We're gonna do the little opening that we have here to make it look a little bit nicer than not like a like a priest right now. Yeah, there we go, guys. I'll see you back on the next one. Bye bye. 11. Shirt Details: Hey guys, welcome back to the next part of our series. Today we're going to continue with the shirt details and I'm happy to announce that the correct way to pronounce at the Gazette, as I was saying, is gossip. Gossip. So I'm gonna go into my songs and I'm actually going to have to lead the songs that we have here on the arms because of those songs are gonna be replaced now with this, uh, Gazette, I'm going to create the little square. I feel about like extracting this from the circle, but a little bit too complicated. Let's just create a little square here. I would say like a 100 centimeters should be more than enough. Or ten centimeters in this case. So something like this. There we go. We're gonna rotate this and we're gonna rotate this 45-degree angle. So this guy right here is gonna be on the bottom side of our asleep. Because it's gonna be like down here. In this case actually, it might be a little bit easier if we could manage to move the seam line of this garment to the other side. So what I'm gonna do is I'm actually going to simulate, I'm going to rotate this thing. So the seam line is on the top. Well, actually no, let's keep it. Let's give it there. Sorry. I was thinking there is. If we kept this on the other side, it will be a little bit easier to, to show this thing right here like on this point and it will, it might be a little bit easier to just like make sure that everything flows in a better way. But I don't think we're gonna be able to do that. So in this case, I know that this guy is gonna be down here. And we can already like Control C, Control V, copy this and then just go from one to the other and say symmetrical pattern with sewing. So that whatever we do to one side, it's going to happen to the other side. So I wanted to show from here from this point. Second and sewing we're going to sew from, or sorry, free sewing. We're going to go from this point here, from here to here. So it's gonna be like the first piece of the gesagt. And then we're gonna so from here, or rather the other way around from here to here. And it's going to go from here to here. So if we were to simulate this, you can see that this little square piece is not gonna be right there. It's gonna be like dangling from the bottom side, the Diamond piece. It's where it's supposed to be, which is, which is fine. That's what we're going for. Now, I need to find the insertion point, which is this one right here. We already know that because we already saw in this things right here. So let's stop the simulation and we're going to go again to free sewing. We're gonna go from the center. Actually in this case, I think it's better to go from the edge in. We're gonna go from the etch in, from the edge in, and this one's gonna go all the way over here from the edge. Those two things now are gonna properly connect the Gazette with everything else. So again, we simulate, you're gonna see that this thing gets connected properly there and we're going to have a little bit of an extra piece of clotting there. Now, what we're gonna do, we need to solve the rest of the elements. So free song from here to here, and that's going to go from here to here. Every sewing from, from out up to out up. And if we do this, that we get this thing right here. I'm not sure if I saw the Gazette properly. I think I did. I think we might have a couple of extra sowing lines. They're like it's supposed to be yeah, I think I think we did something right. Yeah. You can see it on the on the sides here. I think they're flipped. That's fine. So let's just select this guy and it's showing, just going to delete this one. And this one. Let's first make sure that this is working nicely. This. And we'd have this little piece of fabric here, like triangular shape. There we go. That little triangular shape right there. Now it's just a matter of finding the proper connection points. So I know, and we can do this, Let's hit stop it right here. Let's give it a couple of more particle distance to bold elements because that one definitely, since it's again a small piece, we can definitely benefit from a smaller distance. So let's attend. Now. Let's go to F3 solving again. And I know that we're gonna, so from the middle section is going to be permuted here. Loop. From here to here. Is that the way this Let's turn on wireframe. That seems to be right. Let's do the first simulation and let's see if that, yeah, that, that seems to be doing the proper transformation. So now it's just a matter of sewing from here to here. And the other segment is gonna be from here to here. Is that right? Is that flipped thing? It's right. Yeah. It looks right. We go. It was again, just a matter of finding the proper proper situation. Now, as you can see, we had that little triangular shape right there, which is giving us a little bit of release intention. I think we can even go lower on the particle distance for that specific piece. Let's go to five. There we go. So that'll be is right there is giving us a little bit of breathing room for the overall shape. And now there's not gonna be as much tension. Of course, it's a little bit difficult to pinpoint that. And you might even say this, was it really necessary to go through that much hassle just to add that little piece. Well, we want to be historically accurate the day and yes, you definitely want to want to push this thing as much as possible. The shoulders seemed to be a little bit wide for this character. But this kind of seems like this was the way that this source shirts like worth what they were with like a, like a low shoulder right there. But look at those wrinkles. Amazing right now let's let's finish this thing right here, which is the color I want to open the color. Usually the shirts would have some threat going through them. Unfortunately, it will not unfortunately throw the East possible to do it here. But it's not like actual threat is like a hacky way to do threat. If you're doing this for like a game, you're probably gonna do the thread that's a separate piece or you're gonna bake them to the texture, to be honest. So right now I don't want to go over super complicated ways to agree. The third, let's just separate this piece right here. I know that the pizza we're gonna be separating is this guy right here. Let's go to our section lines again. We're going to create an internal political nine from here to here. Select the line, right-click. And we're going to cut. Just got that way. When we do this, we're gonna have this thing open as simple as that. Now it's just a matter of going onto this section right here on the upper section, like this middle section. And the I know this is the front side, so I'm going to again go into my internal line. Or actually instead of internal line, I think it might be easier to just add a point. So I'm gonna go to Add Point spine. Let's say the point about there. Hit Enter. I'm going to go into my sewing section, Edit sewing and this sign line. I'm gonna delete that now we don't have any front facing sewing sections, so we're going to segment, so only the front part. When we animate where I have the opening right there on the front, which again, it's closer to what we would expect chat right? Now. Usually on this area, I think it's a little bit lower. So let me, let me grab the point. Going to grab this point, Let's move it lower. Sorry if you can hear my dog, it's a little bit late and it goes crazy at night. Yeah, there we go. So now that is open and it's a little bit more like a shirt that's way too low, way, way too low. And my friend, you're gonna get arrested in some areas. So let's move this point again. It there. Okay, That's a lot better. Now I wanted to create this sort of thing. I've seen this in medieval shirts quite a bit, which is like an extra supports teaching for the threats exactly. So we can even do the little holes. It's just the threads nowhere. And I'm gonna be able to do as, as easily as I would like for this one again, I'm gonna go to the polygon line, internal polygon line. Let's go to that point right there, which is an easy point to find. Then we're just going to go down there, hit Enter, and we're gonna have this very nice section. Now for this section, what I want to do is I want to add some ellipse cuts, internal ellipse. Let's add the one. Let's move it. There we go. Now just Control C, Control B. Let's do the same distance. So that's gonna be 39.1. That's fine. Control-c, Control-V. 39. I think we can do here just right-click and 39.1 hit, okay? Control C, control V, Same deal. Just right-click and write 39.1. Okay, then let's do one more. Click 3.19, and there we go. Now I am going to select the patterns, all of them. Right-click and I'm gonna say codon and delete it. Not those. Of course, this delete those. Here. You can see that the element gets disconnected. That's fine. Let's just select this guys right here and delete them as well. Might be a little bit too big, but it's fine. Now I'm going to grab this pattern points. Actually just this line right here, I'm gonna say right-click cut. And so now we have this section as a separate little section. That one's gonna grab both of them, right-click and you know the drill, we're gonna say layer clone over. Just seem late. It's going to give a little bit of thickness to those specific areas. Now you can imagine that if we have some nice threat, we could bring this from one side to the other. Again, there is a way to do it. I'll see if I can add it under one of the later lessons. But for now we'll yet just the swirl we're gonna keep. Yeah, now it's just a matter of changing the resolution here just a little bit. For instance, the color, It's way, way too low resolution. So let's say particle density to bring it down to ten. The code is fine. I think I'll live to call it like this for now, means giving us enough enough effects. It's getting a little bit crazy over there. Yeah, because very low and particle density. So again, this guy is right here which are super, super small. Scrub like the corners. And let's bring the particle doesn't go all the way down from like five. They need a lot of geometry to, to properly like unfolding and do what they need to do. There we go. Dancing a little bit. That's kinda weird. I'm not sure why it's doing that. But yeah, that's it. Now, usually this guys would wear a belt or something. So I'm just going to use a nozzle Bantu to hold this tight because we're gonna be adding the pencil, of course, but I just wanted to start to look a little bit, a little bit better. So I'm gonna grab like a U square here, a polygon, something like this. Let's do, make it a little bit brother. Let's go into the sections. The section right-click, Right-click unfold. I think it's a little bit too small. Let me a little bit bigger. Probably a little bit bigger. There we go. That seems a little bit closer to what I'm going for. We're gonna go segment sewing again. From here to here. Marnie idea would be, of course I'm bringing this out. We're just going to have this like right about there. I'll just simulate. Of course, this is not going to work. Why? Because it's not going around the character. So let's add our arrangement points. Let's arrange it right there. I am going to select this pattern only and just change the layer to one that's on top and stimulate. As you can see, this is gonna be holding the whole, whole element. Skew a little bit of time there. Helping a little bit. You can do it. There we go. That's too many wrinkles. That's fine. There we go. We're helping the belt little bit there. That's probably a little bit too high. Remember if it's too high, that might mean that it's too short. Because when things are too small, they tend to contract and move up in the case of this elements. So let's make this a little bit bigger. Just start moving this a little bit down. Probably a little bit more. I would say. It can see it a little bit lower. There we go. There we go. That's a little bit closer to what I would expect now that the ceiling lower, I might play around with just a little bit of elastic CT. Way, way, way too much. No, go back. Go back. The last thing I'm gonna say, just like 98% of elastic suggests, that contracts little bit. Let's move this down way too much. Even, even 90% is way too much. Let's just bring this back. Well, they can do instead of just make this a slightly shorter. Again, because remember, size will change the way it interacts with the cloth, will see a little bit more pressure on the cloth, and that's it. Now, I really, really like how it looks up here. I think it looks quite nice. To be honest. The belt, of course there's not bright, a little bit too high. But as you can see, we lost a lot of wrinkles down here. So there's no Frankel's anymore. Why is it going so high? I would like this to be a little bit like bigger on the underside. So what I can do is we're actually going to be adding not darts. There's another thing that we can add that's called a spread. I believe that's the name. And the way the works His have very, very interesting. I'm gonna go here to Edit transform. This one is still a slash and spread. The way this works is you click a segment and then you click the direction you want to slash towards like this one. This one. And then select the site to rotate. Sorry, click on the sudden drop slash, slash, slash. This. Come on. It's not working pretty much, does it? It's it's split. See the element in motion. Let me show you with another example. First, we go, whatever. The way the tool works, this is actually closed 3D. The other software that exists here instead of the marble whose family has a better tool that creates a very nice curve. But in this one, this is called a slash and spread. So there we go. We go from one side to the other. Then we select the site that we will not rotate too, like this. And then we do this and see how we create this rotation right there. So what I wanna do is I want to do something similar over here, like I would like to give this skirt is a little bit more more room, but then other Think of it. This might not be the two. Oh sorry. This might not be the tool for the specific thing that I wanted to do. I think, I think in this particular instance, if I want to make this a skirt like longer, the best idea is just to grab one of these bullet points. Point tool and just move it to the side. Transform point, select that one. And then we'll move this out. We're going to get more cloth That should give us a couple of more wrinkles on the bottom part. Oh, yeah. The other pattern, right. Let's leave maybe a little bit there and a little bit there. Again, it's going to add a couple of more wrinkles on the government itself. It's going to look a little bit more medieval, more loose. There we go. So yeah, that's it guys. This is pretty much it for the for the shirt. Now, for the pans, which is the next area, we actually don't have any pattern, but we're gonna be using the same things that we saw in this pattern to recreate some of the effects and elements that we want to do on the next pattern. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 12. Medieval Pants: Hey guys, welcome to the next part of our series. Today we're going to continue with the medieval pants for our character. Let's go. I'm laughing because I actually, I'm re-recording this partly because I forgot to remove the cover page from the original video. This is where we got last time. As you can see, we're still using layers on this guy, which I'm going to keep active right now because I actually said the lyrics to a number one because we're gonna be building the pants and I want the pans to be, of course, underneath the character. Now if you go online and try to look for pants like patterns, you're gonna find the law, the law of different things. And in this case, we're actually going to be using this as a reference. I don't have a specific pattern for this one. We're gonna be using more complicated patterns later on. But this one's looks pretty, pretty cool. Now, as you can see, we have a wasteland, very important. We have this leg protectors over here, which I would imagine are a little bit, they have less cloth, right? And that's why we get this really nice, like folding. In fact over here. We also have a very low cut on the growing area on the crutch. So you're gonna see that there's gonna be a lot of load of stuff over here in regards to fabric as well. Yeah, that's pretty much it. So let's go. I'm gonna start here with the character. I'm going to go into my polygon tool or rectangle tool, and let's start doing a belt. So there's gonna be like my basic belt, which is gonna be, I will say something like that. It sounds good. And of course this is just the front view, so I will need to go into Edit Pattern, select this pattern right here, right-click and hit unfold. This is going to give me the other half of my my belt. I am, of course, you're gonna be sewing the segments from here to here. And we're going to be using the patterns of our character here on the arrangement points. And we're going to select this guy and place it right there on the the belt area. There we go. This guy. Come on. I'm not sure if it's because we're seeing the patterns here. A little bit weird. Let's go back here. Okay, That's fine. I don't really like to have the seam line on the back, but it really doesn't make much of a difference. So we're going to simulate the incidence. This has the layer set to 0. Of course it's going to be underneath the character. Now, I'm gonna go to the shirt, grab the whole pattern. Right-click. We're going to freeze it so that we don't have to calculate everything. Freeze it. There we go. And then select everything. Right-click and we're gonna do high 3D pattern. There we go. I think my shortcuts or turn off. There we go. Now, that's the belt. It's a little bit high, I would say let's just bring it down a little bit. I would say probably about there. Looks a little bit better. There we go. I don't want a law, the resolution that I think that's more than enough. Let's bring this down a little bit as well. Just above the underwear line. Perfect. Now, for the pants, we can use or create our own polygon. And we're gonna be doing that actually for this one. Because I was gonna mention that yes, we can go back here, select the pants pattern. It's just just a space, but it's a very, very simple pattern. Usually when you're doing pants, the only thing you want to keep into consideration is the amount of space that you're gonna leave here so that there's enough room for everything down here. We're going to do our polygon option. In this case, you can see that we have a lot of pleads on the element. They're not specifically pleats, but they are specific points that they're getting this sort of like a very nice effects. So that means that we're gonna go from here, from the center out. I'm gonna go a little bit higher or farther out so that we get more and more fabric, of course. And then we're going to go in to our legs section, which is going to have a little bit less. That's a little bit too much. There. There. There has a really low cut on the growing area. I'll do something like that. And then we stop right there. Perfect. Now to align the points, remember, we've talked about this before. You go into transform points of segments, like two points, right-click and say Align to either the y-axis, which is vertical, or align to the x-axis. We go, there's gonna be one of them patterns like this one, control C, right-click, paste. And we're immediately going to select the symmetric pattern with sewing. Like both of them. We copy and paste and it's going to be the back view, of course. Now we started moving this guys. So let's just click this row to them around and place them on the back of her character. Right there. Let's start stitching. So we're gonna go to our segments sewing. We're gonna go from here to here, from here to here, from here to here, from here to here, from here to here. It's already there because we're using symmetric pattern. I always forget about that one. Now if we, seemingly as you can see, we get this. Well, actually, my bath, there was one line that was not supposed to be there and that's this one right here. On this intersection, I don't want to like so across I wanted to show each leg. This leg right here. It's going to go to this link right here. It's gonna go to that link right there, like that. And then this section right here, it's gonna go to that section right here. There we go. There's gonna be a little bit of a pitch right there. That's fine. We're just going to press space. Let's resubstitute the layout. Let's just garment points or adjustment points. This one. Come on. I'm not sure what's wrong with that arrangement points with whatever. I'm gonna rotate this around. I do understand it to be I don't want the seam line to be on the back or schools to the backspace also, just gonna move this manually. There we go. This one goes there. This one goes. Like they're little closer. Now it might be a good idea to already, so this thing to the upper section as well. I'm going to go to free sewing because the spaces are not the same. And we're gonna go from here to here, from here. Same. Now I can't be the same. That's really weird. It looks like it's the same distance, but it's not pretty sure it's not the same distance. My little point. Right? Right, right, right. So just to clarify where this is not working, the problem is, of course, this thing has way more like what's the word way more fabric than the other piece. Even if I do this right here, There's no way I'm gonna see my little blue dots because it's just not going to get hauled away over there. I'm just going to have to kind of eyeball it. So I'm gonna do like half of it. And the other half, which is this one right here again from the center to the center, and from that point to the very end. So that way we get that sort of effect. Again from the middle point to the site, roughly there, halfway point, and then from the side to the back point. And from the side to the back point, there we go. Now we simulate, we should get this nice little super, super, super wobbly pants. There we go. Let's move this up. It seems to have some sort of like stitching or something that's teaching like it's sticking to the character for some reason. It might be the the shirt on the top since it's frozen. Let me stop the simulation then. It's unfreezes even if we don't see it, but at least just know that it's there. Yeah, that was it. So the fleetingness of the element was making it a little bit difficult. So there we go. As you can see, we have this very, very big fluffy pants. But the seam line domain, like the crotch area is way, way too high. It's this one right here. I'm gonna go again to transform point segments. Select those points, Let's bring them down. We could also use the technique that we saw on the, on the shirt where we added this of a gunshot. That would add like it will give a little bit of extra volume there on the pants so that we wouldn't have this sort of like effect. But I think this one's looking at interesting. Now here's where we can change a couple of things. For instance, if I move this thing because I want to see how the how the wrinkles changed directions like right now it was looking a little bit like a diaper and the academy, unlike that sort of effect that we were getting, this looks out loud with more decent. There's a lot of false of course, but they do look a little bit more decent, kind of like again, similar to pleats. Not exactly like pleats, but similar to police. We definitely need to do the same thing on this bottom side. And actually I think the bottom side, I'm actually going to bring this like a lower, even lower. So we have more way more room here on the back. Like a weird pinching over there. We're pinching because this is not the same. Let's bring them up again. There we go. Now, there shouldn't be any more pinching and this thing should fall a little bit like nicer, seems to be missing a lot of a lot of butt overshoot, but that's fine. Now we're gonna do the trim line. So the, the support edges that we have down here, and I think one of the easiest way to do it is just grab this pattern, this one right here. And since we already have this two patterns, just bring them all the way down to where this thing is gonna stop, which is about there. There we go. Then just add it in like an, an internal line. So right-click offset, that's internal line. I'm going to do, I think a little bit more than this. I'm gonna go like 250 is quite high. So 250, that seems to be a bit better. Actually. I'm just realizing that this line should be slightly below the knee. I'm going to grab this line. Let's leave the light. I'm gonna go with this two guys. Those are fine. Those are fine. We're gonna go over this two guys. Those are fine on the on the ankles. But the line should be like right about here, so that's quite a big of a distance. So again, we're gonna grab this guy, Right-click, Right-click offset as internal line. And it's probably going to have to be something like 100th, little bit less like 350. Yeah, that seems so. I'm gonna go 316. There we go. Okay. We're gonna do the same thing on this side, same distance. So the line right-click after this internal line, 2016. There we go. Okay. Select both of them. Right-click and cotton. So of course to free them from the rain, from all of the parts of the pants. Now, it's just a matter of getting this guys right here and making them smaller because we want them to be way we tied her on the elements. There we go. Look at that amazing, really, really cool. I do want them to be even tighter on the inside. This line right here and this line right here. I'm going to transform points, segments. I'm going to scale them in. Just simulate, gonna give me a really nice clothes fit on the download section over there and then a bigger fit over here. Now, I don't want to have more wrinkles here on the pants as well. So that means, again, following the thing that we already know, that we're gonna have to go here to the segments, select one of the segments and scale it up. And the bigger the segment is, the more the more wrinkles we're going to have. So when we see me late, we're going to have it. You really, really baggy pants right there. Cool. So this is looking nice. I don't love this pinch that we have right there. Let me see if we can see that we're pinched and I think it's because of this line right here. So I'm gonna go here to the Edit curve point. I'm just at a point transformed point. Let's bring this closer just like this. Because these are meant to be just like a little point there two, to indicate where the pants kind of stuff. There we go. Those are looking a lot nicer. I love fluffier and the closer to the reference. So again, if you guys remember, this is a reference that we have and this is where we're getting. Now, one thing that I'm noticing though, is that the upper side of the reference East closer to the body than the lower side. So right now it seems to be the other way around. Which means again, that it might not be a bad idea to select the segments up here, this one, and just make it slightly, slightly smaller. For this one. Probably a little bit more. Just simulate. Now what I'm expecting to see is a little bit of a nicer fit up there and a little bit of a looser feet down here. Another thing we can do, and this is something that we haven't really done before, is we can add a curve to the lower sections. Adding a curve is kind of like adding more volume because this length right here is going to change and it's very, very easy. We just go here, right-click and we are going to split. We're gonna do a uniform split, Okay? For this one, we're gonna do a uniform split right here. Those two points that we just created, Right-click. First, let's move them down. I'm gonna move them down to create like a, like a pike. These two lines are no longer of course. And then we right-click. We can convert to cook points. And we're gonna get this group went. That what's going to happen is when we simulate, you're gonna see that we get way more fluffy volume down here at the bottom. Because of course, there's more, there's more fabric. And we know already that the more fiber that we have, the crunching, the bigger the smooth ER it's going to get. So, yeah, this is pretty much it. As you can see, we can get a very fast and an ECE like pants segment without that much of a problem. And now we can just go into our other elements of the shirt. All of these guys over here, right-click. And let's just show the 3D patterns. Look at this. Really, really, really nice. Cool. Yeah, I think this one looks really, really nice. Now one thing that we could definitely benefit from, it's adding a little bit of thickness to certain areas. So for instance, this guy right here, we can again use the trick that we've used so many times before. Right-click, I just go bad and Selection Tool, right-click layer clone. Let's do over again. Remember it's the same. Just make sure that whatever it's over, it's over and whether it was under sender. And that way you won't forget which one is supposed to be just one. That's going to give us a little bit more thickness to the whole thing and it's gonna look a little bit firmer. Especially if that's supposed to be like supported by leather or something. That's, that's something that we definitely want to add to our character. The yam, I mean, it looks pretty, pretty nice. I think. One thing I like to do to actually hide the avatar. And that way we can appreciate the garment without the arbitrary because the avatar, let's face it, it's not really made out to be like a medieval warrior. So this is what we will export your ZBrush or Maya or something to create bakes from the, this will be our simulated mesh. Now we can go to the aperture though. Let's go to the mail and we do have some pulses. So for instance, we can do this sort of like running posts, Let's suppose only. And you can see how the whole garment moves and accommodates itself is to show us how this will, how this whole thing would look if the character is running, which as you can see, it's pretty, pretty, pretty good. I'm gonna stop right here, guys, we're going to stop on this specific part. We're not done yet. I went to had a couple of accessories to this guy. They're gonna be quite interesting. So let's go back, let's go back to looking at, basically goes here. We're gonna be doing this on the next video. So make sure to get all the way to this point. Make sure to follow all of this patterns so that you get this very nice result. And I'll see you back on the next one. Bye. 13. Medieval Cowl: Hey guys, welcome back to the next part of our series. Today we're going to continue with our medieval character and we're gonna be doing a cow, which is the sort of like Huth that character is used to have. We're actually going to be using patterns for this one. And I have one right here. I'll show you how to get it in here very quickly. Let's just reset for now. First of all, I'm gonna look the same avatar that we're using, this male avatar, number two, I guess this one right here. And we're gonna be using this guy. Now, one thing I definitely want to do is I don't want to use the hair. So I'm just going to right-click and say Delete here shoes. Because here it can't get in the way of the simulation. Well, not the simulation per se, but it's gonna look a little bit weird, overlap. Now there's two parents that I want you guys to use for this specific exercise. The first one is going to be the pattern to create the base of the hood, which is this one right here. Now at this hole right here. It looks pretty, pretty cool. I'm actually not going to change the size right now. Maybe just a little bit. There we go. Just move it to the side. This is the tricky part, rightly, whenever we see this sort of stuff, at first, it's like a little bit difficult to understand, like, what are we supposed to do here? Everyone, like every tailor that I've seen, at least in the patterns, everybody does with a slightly different. What they can see here is that we have the side of the element, the other side. So this will be the shoulders. We have this thing called a gaur, which is very similar to what we did with the pants, where we add a little bit of an extra, an extra piece of fabric said there's not a lot of stretching. And we have another one at back here, then this is the actual hood. Sorry, this is the actual hood and as you can see, we saw it on the back and we saw it on the front. And we create a Hamline here on the inside so that it keeps its shape. Now, I'm gonna show you how to do this pattern, but they weren't gonna modify and create something that I think it looks, or it's gonna look a little bit better. So first I'm going to go here to my polygon tool. Go right here, Shift to make sure that this completely straight down and then up, down, down, all the way down here, down there, and up there we go. Now we click Enter. As you can see, we have the pattern. Now here it tells us that we should be doing this pattern with, we'd like the core lines and stuff. And that's only if we have, we want to have a couple of extra sewing lights, which I think might be a good idea. So I'm gonna go here, 45 degree angle and then down here and just hit Enter. Enter or actually, sorry, that wasn't me about. We need to do internal lines right here, internal lines, we're gonna go here, 45-degree angle and then down here and hit enter. And then we're gonna go from that point down to this point and hit Enter as well. And that's gonna give us against some sowing lines that it's gonna look, you've got to make it look a little bit better. I'm actually going to grab the pattern tool like this panel right here. Pattern, this one right here, I'm going to right-click and, you know the drill codon. So now with that core, It's a different piece. Same thing for this one, right-click caught. And so now we're going to have two different pieces and we're going to get a nice little line there, which we can later on reinforced with a hammer something. Now, for this one right here, this is a dark, this is pretty much a dark where we're removing some cloth from the element. The easiest way to do it, of course, is with the darts are just going to right-click, draw a dart that has the same sort of like general shape and then moved around. You can double-click this little dot right here and it's going to keep it straight. Let's go to Pattern. Now to make this around because the cow and specific how it should be around, we're just going to right-click both points. Both will pause here, right-click and say commercial PowerPoint. There we go. Now we have this very nice opening on the fabric. Now to actually place this fabric where we need to do is of course move this thing around. And I definitely need to make this thing a little bit bigger. So the pattern right here is a little bit too small. So let's go to the pattern Transform tool and just go from here. Now, you've probably seen this thing where we are just going from one corner to the other and nutritionally fine, but you can actually double-click the pivot point here in the center and that's going to scale it from the center. And it's going to keep it. It's the same thing for this one. It's the same thing. But sometimes you probably guys remember when we were doing some patterns like this. Then I wanted to make this thing like smaller. We've been doing just like grabbing this guy right here, going into transform, and then just going in like this, but it only does one side. You can change the point here, and it will do both sides at the same time. It really hasn't been an issue so far. Just wanted to mention that in case you are having issues with uniform transform. So yeah, that's pretty much it for this one. So I'm just gonna go over everything here. Let's move it to right there under the head. Especially here on the 3D view. Of course. We're just going to move this thing. Again, rotate this position right there. Now, if we simulate, this is where we're gonna get. So it's at least going exactly where we wanted it to go. But of course this pattern is not shown the way we would expect. This front Gore. We wanted to be like right here on the front. That's exactly where it's supposed to be. This is the side gore. So as you can see, this part right here needs to be sewn to another part, but it might be a little bit counter-intuitive. And this is why parents are so tricky. Because you might think, Well, I'll just do this so things together and that's it. Well, no, there's a couple of other things that we need to take into account. So for instance, I went to a hood right now this looks more like a poncho, not like a like a hood. I know that this thing should be up here that's like that. That's the actual hood and this is the actual kept for the hood. So I'm first, I'm going to change the pattern right here a little bit. I'm gonna make it I'm gonna make it a little bit bigger. The hood side of things. And then here we're going to use a segment sewing two. So from this side to this side, that will close the hood. So now we can take a look here. This is the actual hood. This little cap and other character is gonna be like it's gonna have like up here. The problem is, well, right now it's kind of like did the opposite side or the opposite thing of what I wanted to do, which is it tried to flip itself to the other side. Let's see if we can on the flip it. If not, it's actually a little bit better just to go back here. Again, just wrote to this thing. This is an important one, really. The other ones should find it their way. Again. Let's move this backwards. There we go. I'm going to delete this seam lines for now. Just 1 second. Let us go to sewing. There we go. Let's seemingly first, there we go. Now to help this seam line like actually find the kind of, kind of, um, connection that I want to find the cause again, this thing is going to go like up here. But like this, I wanted to give it like this. I'm just gonna stop the simulation right here with spacebar. Now if i so from one segment to the other, segments sewing, it can go from here to here. It's in the segments are a little bit closer. It should be a little bit easier to find. There we go. Now we have the Positive, Positive like hole where we want. Now this thing, of course it's gonna go all the way up here. I think it's a little bit too long. They wouldn't want too long on this one. So let's edit the pattern up this guy, just bring it lower. We also need to sue the top, but however, we won't be able to do it because we don't have any point to find the segment two, we could use free sewing, but in this one it's a little bit easier to just click this guy, do a quick split, say uniform split, one or two, that's fine. Then we're gonna do segments from here to here. Now as you can see, we're gonna sue the top part of the cow. There we go. Now, this is like a little bag and the only thing that we need to do is help herself sit and try to make this thing fit our character, which is a little bit tricky. I'm not gonna lie because this cows were not super like ergonomic. That's why we're gonna be doing some changes later on. So I'm gonna start the simulation with paths and then just try and pick this from the side. The camera also does this weird flips every now and then. We can try moving this. There we go. The problem, the main problem here is that the collision for the head, It's not perfect. There we go. Come on, my little friend. You want to have a little hood? It's raining outside or something. So there we go. Now you can see that we've, after we do this, it's a lot easier to find where this thing is supposed to go, which is the main, like an opening of the object. I think this is the actual, the actual thing that we're gonna be using to connect both sides. But it's not very obvious over here because this thing is on the middle section. So you might think that this to connect. And again, that's the tricky part about patterns that sometimes it might seem like the solution is quite easy, but it's not as CCSE might think here, just to make sure that this thing is sewing in the proper direction. This one, as you can see, it's a cross stitch, so that direction has to be opposite. There we go. We have our nice little Huth for our character. Now you might be wondering, well, I want to change the shapes a little bit. I don't really like it. It's not going all the way to the front. Like is there a way to adjust it? And the answer is yes, we can adjust that, of course, but that's why I personally don't like this cow, we are following the pattern. I mean, it gives a nice effect, but I didn't think it looks as good. I'm going to stop the simulation here and we're gonna have import another pattern that's for an actual cow or not an actual carbon. And this is a cow's, well, but this is a different kind of cow. So I'm going to go here, go to Add background image, a recent this one. And again add background image and we're going to import this medieval cow. Now, the difference with this one, as you can see, let's increase the size as well. Not that much difference with this one is that we actually have asymmetrical pattern to two sites. So contrary to this one which was made out of squares, it might be a little bit easier to do if you're in a hurry or something. This one will create a round shape on the bottom side because of this curvature here. Now, I want to keep my square shaped like I really want to keep this element over here, but I would like to have this nice little pointy hood on the top. So we're only going to be tracing the top part. We're gonna go to our polygon tool, of course, we're going to start there at the point. And weed control, I'm going to use control in this case. I'm going to go here, click, click, Control, control. Gonna go, I would say right about there. And then across. Let's delete that last one. A little bit of curvature here. Curvature here to here, and we stop there. There we go. Quite nice, quite close. As you can see, we have some differences there, but it shouldn't be that much of a problem at any point. We can also change the curvature, but I think, I think this one is looking quite, quite nice. So what I'm gonna do is I'm of course going to delete this one like I don't want to use this. I want to use the square shape, but I don't want to use the hoods. So the square shape, as you can imagine, is this guy over here. And then what I'm gonna do is I'm going to use an internal line to go from here to here. Hit Enter, and then go from here to here and hit Enter. Now I'm just gonna select this pattern right here. Again, right-click, this right-click and we're gonna say codon. So this ugly that we have fear we don't need anymore. We're just going to be using this like poncho, things like puncher here in Mexico we have something called Serapis, and it's very similar to this one, actually rectangular though. So the opening is fine. It's a square opening, as you can see there. The fabric is not matching everywhere, but that's fine. It looks, it looks nice, it looks bulky. It looks protected, which is always important. I'm not sure if he could fit his head in there though. I mean, cloth stretched a little bit so he might be fine. Cool. Now I'm going to grab this guy right here. Let's grab this case first. I'm just gonna control K12 freezer, recent, this guy. Grab it, rotate it. And this of course is going to go to the side of the head. That's a way, way, way too big. So of course we need to make this smaller. We can compare it to that, to the size of the head over here. That's a little bit nicer. Maybe a little bit smaller. Better there. I think it looks better and we can always make it a bigger, of course. Now, one of the problems, this on the connection of the elements, you can see that we have a couple of seam lines. Like there's, there's two seamless are actually not. There's one seem like, Oh, that's perfect. It's gonna make our lives easier because the only thing we need to do here is Control C, Control R to mirror paste this thing, we're gonna do a component sewing tool, segment sewing. So from there to there, from there, from there to there, there we go. And then we're gonna go from the back to the back. There we go. That's it. That's all we need to select this guy, move it to the side, bring it down. Then we just need to, So from here to here, and from here to this other side. Now when we simulate this little who looks a little bit better now, I can definitely see that it's way too small. It's very, again, very forfeiting. So let's grab this guy right here, this guy right here. Let's just make it a little bit bigger. Again, when we simulate, have way more room for a character. And then we let it fall down. Maybe he's not wearing it right now, that's perfectly fine as well. Of course, we just need to play around with a collision boxes until this thing is sitting on the front side of the face like this. There we go. That's it. That's the nice little medieval hold. Now, what else can we do? Well, we already know by increasing the particle distance, we can make this thing a little bit nicer. We can make it more collision points. Let's of course, this guy's control K again to simulate. Probably going to grab everything and let's bring the, the particle distance 2D like tenth. It's going to give us, of course more wrinkles. Look a lot nicer. Now, there's one thing we haven't done before or we haven't used before, which are ribbons. I actually forgot to add one of the ribbons to the uniform, at least a character I used to have a ribbon, not all of them do, but here on the hardware and trims, there are a couple of things that you can use it, for instance, ribbons. And you go here, you can see that we have several ribbons that we can use for our character. Now in this case, I think we're just going to go from a very, very simple rebel like this one, so that you can just double-click to downloaded from the server. And we can just literally drag and drop it right here. You don't want to save just yet. And I just want to add, okay. What's going to happen is we're going to be added into pattern for our ribbon. And not only that, I mean, the ribbons already done, as you can see here, it's already done. It's ready for us. We do a river from scratch, yes, of course. But to be honest, it's quite tricky because you need to do a lot of looping and a lot of stimulation to make sure that things look as nice as possible. In this case, it's just easier to just move this thing around. Now how can we make sure that this thing stays where we wanted to state? There's a couple of options, but in my case, I'm just gonna use a pin. So I'm gonna grab this guy right here. This is the pin option. Where is it? Here? The tech. So I'm going to attack, attack this ribbon. This guy there. So when we stimulate, the region is going to be stuck right there. Yeah, that adds a little bit of detail. This is the kind of things, if you asked me about like game character creation, this account, things that we would probably do later. Because having to read, apologize this thing or this thing, It's a little bit too much and sometimes it's a little bit too much for, for simulation and stuff. It looks really cool here, but that might not be what you want all the time. Now, let's add some pattern lines here to the outer edge and to the hood as well. So I'm gonna stop this simulation. I'm going to go into my pattern lines, select all of these guys, right-click and I want to add a line thing. We're gonna have to do it by one by one. So I'm gonna say offset as internal line. Now we should be able to do both like all of them. Either we go after that's internal line. There we go. I think five millimeters is perfectly fine. I'm just going to hit Okay. As you can see, we get a nice little extra edge right there and extra, extra light. Remember, lines can help us with two things. One, they will make sure that we have a more defined edge on the garments. So it's gonna look like a support edge pretty much. But we can also use this to create the hem, which is what I want to do. I'm going to select the pattern right here. Although this patterns, I'm going to right-click and say Clone as pattern. What this will do, as you can see, it will get, actually, I wanted the other one. Another very quick option. Not I actually think it's a little bit easier if we clone this pattern. So let's select the outer edge. You know what? Let's, so first let's cut. And so for us, There we go. Now the little Thanks are separated. Now we can grab all of these patterns, rhomboids, shapes, and just click, right-click and we're gonna do a layer clone under. Let's bring them down here. Again when we simulate, since that thing already, like those things are already sewn together, Let's get rid of the internal lines. We're going to get a very nice detail over the whole thing. Now for the hood, we're gonna do the exact same thing, but I actually just want the ham to be on the, on this side, right here, on the upper side. Let's grab this guy, this guy, this guy, and this guy right-click. And we're going to say after this internal line, five millimeters is fine, maybe this one, Let's make a little bit bigger. So let's attend millimeters. Hit. Okay? Now here you're gonna see something that's really important. See how this thing is not going to, where it's supposed to be going. It's not stopping. If we tried to solve this thing, it's not gonna work. I'm gonna right click this guy accent trim and that point pattern outline like that. And we're gonna do the same thing over here. And in this case I'm gonna say Accenture him to pattern outline. And that way this stops at the pattern outlines not going anywhere else. Very, very important to do this. Otherwise, we're about to do it's not gonna work. So again, right-click send Truman at point pattern outline. There we go. Now we can grab the internal line, of course, both of them on both sides. Right-click and cotton. So the new patterns that we have created, right-click and we're going to layer clone under. Let me, just for visual purposes or let me do a layer clone over, then. Clone over. There we go. And that's it. So now when we seemingly, you're gonna see that we have a very nice trim down there. Now, I know in medieval times maybe the fashion was not like that and we didn't have that sort of stuff. But it looks pretty nice. You can't deny that, right? Like this, who looks quite nice, like I could see a hero from a fantasy game using it, and it looks, it looks nice. Now one thing we can do, of course, remember we can grab this streamlines and it brings the particle distance even lower because it's so small, we might need a lower particle listens to really see the effects that we are I'm looking for. That's it. That's our, that's our cow that's sort of our cloak. Let's save this project real quick. And as you can see, we did this as a separate project. Again, very similar to the uniform to make sure that we're not having any conflict with the other pieces. And let's call this medieval. Give me here, we call it a cloak. Let's call it cow. Cows, just like the little head thing. This thing on the other side looks a little bit more like a, like a like a cloak. Now I'm going to open the project, the other project, Let's open the medieval outfit that we weren't working on. Let's open it. This is the one looking very nice. I have a little bit of an issue here with the legs. I think when we change the avatar thing, modify something. Let's bring the avatar in again. Would you like to love it? Yes. There we go. Let's move their posts. Let's go to the poses, and let's go with a more open pulse. We can appreciate the garments a little bit better. Here's where we would probably have to use the ratio of points. Again. Let's simulate. That's working a little bit better. I really liked those wrinkles down there. I know that in the reference this was a little bit tighter, but I really like the way this looks. Now we're gonna save file f And we're gonna add a project. We're going to add our medieval cow open. We're just going to add and we just wanted to add the garment hit. Okay. Would you like to know I do not want to do that. There we go. That's the cow right there. The only thing we need to do is give this thing a high layer again, like, like a four. Simulate. Now that the cow is gonna go all the way to the top like there. Let's stop the simulation. Let's delete the hair. Again, right-click Delete hair shoes. Similarly again. So this false, a little bit nicer. Hand look at that. Character is looking quite, quite nice. I would say the shoes of the shields skill though. So let's go to the shoes, right-click and let's delete hair shoes. There we go. So now we can actually see all of the clouds. So yeah, there we go. We stop the simulation, we grab all the patterns. Here. We definitely need to do a little bit of cleanup, as you can see, the scaling a little bit to, to BC. So let's select this guys. Let's move them up. And then this thing is supposed to go down list and goes here. You always want to keep your workspace asked. Organized as possible. Again, just to have a whole, do I have a whole? I think these are way too small. That's why having some issues there. Let's grab both of them. There we go. And just move them up here. I know they're supposed to be on there, but that's fine. Like we're the ribbon, of course. The ribbon like up there. Perfect. So now again we figure out all of the patterns and just change the layers to 0 for all of them. So that when we simulate, since they already are where they're supposed to be, we can just start moving things around and making sure this looks as nice as possible. And that's it. Our medieval outfit is ready. We have this very nice. He doesn't look like a hero yet. I would say he looks a little bit more like a peasant. But yeah, it looks pretty cool as you can see. And it didn't really took us that long right? Now before we finish this chapter and we move on to something a little bit cooler, I do want to touch a little bit the fabrics, colors, and materials, because since we have so many pieces right now, it's getting a little bit lost on the different materials that we could have on this character. So it would be nice to see him properly, medieval patterns and fabric. So hold on tight and I'll see you back on the next video. Bye-bye. 14. Medieval Bracers: Hey guys, welcome back to the next part of our series. Today we're going to continue with a eraser. I know in the last video I mentioned that we're, we're gonna be working on the textures when we, before this chapter is over, we will take a look at the textures. But they really wanted to show you a very powerful tool that we have here instead of marbles designer, that really fits our character right now because we can actually build armor with this software. So I'm going to do the armor on the main file just yet. We're going to append it later on. I'm gonna grab this guy. This is gonna be our main character. Before we jump onto the actual building, we're gonna do a nice little eraser here on his left side. Before we do that, I need to show you how this works, like why does this work and how this has worked? Well, let's imagine that we have a polygon right here, just like a basic rectangle. This rectangle is just a very thin piece of fabric. Well, there is a nice little option on the fabric section of our elements that allows us to change the thickness at which the element is being rendered here. Okay, now, the cool thing about this is that even though it's a, it's a fake, Let's call this a fake or render. When you export this, you can actually export the thickness and they will be working perfectly fine. So you can bring this into ZBrush Maya, any other software, and they will work just fine. The way this works is very simple. I'm going to create the new fabric here. I'm going to call this leather. The first thing I'm gonna do is I'm gonna go to the presets down here. I'm going to load the presets. Now if you look here on the presets from your basic living material function, you're going to find that this one that's called shrimp full green leather, and that's pretty much just leather. Okay, so it's gonna be really, really hard if I simulate this. You can see that it's really, it's quite hard to compare it to other types of clothing. Let's start the simulation of recent the arrangement points. There we go. Now, there's one thing I'm gonna do here. I think we've already talked about this, but if you right-click here on the elements, you can actually go into simulation properties. And these properties are like simulating the world. I think we already did this when we talked a little bit about the wind. But for now I just want to go here to the gravity. I'm going to turn this off that way when we simulate this piece of fabric is just gonna be there. Now of course, if I move it, it's like if it's 0 gravity and it's gonna be moving pretty much everywhere. But I'm just going to stop it. And there we go. We're back to basics now, how does this thing work? How does the thickness work super-simple on the pattern itself. Let's change the color on the, sorry, not on the pattern on the fabric itself. Let's apply this. Of course, There we go. Now it shouldn't be like leather on the fabric itself. You're going to go down here to where it says thickness here on the fabric. Thickness by default, as you can see, it's set to 0.5 millimeters. It's really, really, really thin like a piece of paper. This, It's half a millimeter, so it's really, really small. I'm going to change this to something like three centimeters. And the now nothing happens. Why? Because we need to select up here this option with this called thick texture substance. And now you can see this actually has a thickness to it. If we were to use this or move it and modify it and place it on top of the character. You're gonna see that the thickness actually does play a role on the deformation of the character. Here let's turn to the gravity on again. So simulation properties grubber the minus 9800th Angeles stimulate. There we go. As you can see, that's the leather. It's kind of like sticking. As you can see, it's like a solid piece of leather, like really, really nice. As you can see it. We're gonna be able to do all the things that we normally do, such as sewing, pattern cotton, everything, everything that we've done so far, buttons, even using this piece of fabric. Really, really important later on we're gonna add proper textures to this thing. So it actually looks like leather before now we're gonna, we're gonna keep it, keep it simple. We're gonna be using this arm as a reference point and we're going to do a relatively simple eraser. Let's go first. I'm gonna go here with my polygon tool and I'm going to start drawing a break here. I'm going to start from the center out. Then we're going to go up. And I want to do this very traditional archery eraser that curves like I like, like it looks very much like a shirt, a shirt pattern. There we go. Just like that. I'm going to select this right-click and we're going to copy and mirror paste. Then we're select one or the other and we're gonna do geometric pattern with sewing. There we go. This patterns are symmetric right here. Of course we're going to assemble them together. So we want them both to go into the same the same little piece. And here we can use, of course, our arrangement points, like the both elements are arrangement points on the avatar and get them there on the arm. There we go. That's a little bit too big. I think. I'm going to grab both patterns. And I'm just going to scale this down. I'm probably scale this in a little bit. I don't want this to be like super, super big. Perfect. Now of course I'm not going to stimulate their, I mean, we could similarly, but if I simulate, this thing is just going to fall because we don't have structs, so we need to add some stripes. Now, I definitely want this thing to be a little bit thicker. So let's go to like six centimeters. I know it might be a little bit too much like it's a really, really thick piece of letter. But usually this leather work tracers will have a lot of other effects like this. So we're going to add some pattern lines, some internet paleness, and we're going to go here, internal rectangle. Let's have one right here. And then another one. Like right here. What I want to do is I want to create a kind of like the attachment point for the straps that we're gonna be creating from this particular pieces. I'm going to select the pattern here, right-click and we're going to select this option called Add Point two intersection. What this will do as the name implies, it will create a little point on the intersection. And that's pretty much all we want to do. White. Why we need, why do we need to do that? Well, because as you can see, the pattern is going outside of the object, then we don't want that. So I'm gonna go here to Edit, Transform point segment. And this thing is right here. I'm just going to delete the other way. We have our internal section without it affecting any of our external elements. Now, I'm going to grab this pattern right here. I'm going to right-click and I'm gonna say Clone S pattern that we have an exact copy of the element, which is that we'll start with there you can see that since we're using the same leather material, we are getting the thickness as well, which is quite important. And the noun I'm just going to control, I'm just going to copy. Mirror paste, paste it. On this side. There we go. Like one, like the other right-click and we use geometric pattern was sewing just so that if we multiply anything on one side, we get the same thing on the other side, do the same thing to your clone. This pattern Control C, Control R is the shortcut and I forgot to turn on the Karnak thing again. I always forget when I start recording. There we go. Select one like the other right-click and we're gonna symmetric pattern was showing, there we go. Now we have our stops. This are gonna become our straps for our little elements right here. The only thing is I need to make sure that these are flat, right? So we already know how to do that. We go into transform point segments, grab both points, right-click and aligned to dx athlete y-axis. So I've got one grabbed the other aligned to the y-axis. And as you can see, both of them are gonna be aligned perfectly fine. We're gonna grab one of these guys and we're going to bring this out, the other one and bring this out as well. I think this should be more than enough for the patterns that well, I want to create here. Now it's just a matter of grabbing the sewing line here. Segments sewing we're gonna so from here to here, and from here to here. Perfect. Now of course we can't just simulate like so because these things are not where they're supposed to be. So let's select this pattern, which is this one right here. And I would expect this pattern to be like they're gonna try to position this guy's as close as possible to where they're going to be attaching. This better right here. It's going to go to the other side and rotate. You can use the little squares there to move a couple of this point's really, I really wish the gizmos, I think I've mentioned this before. I really wish that gizmos worked a little bit closer to how they work on another 3D software's. But I mean, we can't, we can't really ask everything right? Then this pattern right here. Same thing, Let's rotate. This one's going to be right about. Here. There we go. We could try using the attachment points. Let me see if it works. Here too. The wrists, I mean, it doesn't really work. Camera's going crazy. There we go. Let's just position this thing right here. Rotate this a little bit, so it's a little bit easier to see what we're about to do. Because now comes the important, or I would say, one of the most important parts of the whole process, which is the stitching of this things into into the into the actual eraser. To do the stitching. What we already have the sections, right? So we're going to use a section stitching right here. So we're gonna go free sewing. We're gonna go from this point there. From this point to the blue dot. Then there, there, there, there, there, there, there, there you can see, of course this is sowing lines slightly smaller because of the inclination of the sewing line. There we go. Now if we simulate that eraser is right there on our character. As you can see, it looks quite, quite nice. Now of course, I can see that the structure a little bit too big, which I was expecting, because we're not using any pattern or anything. The lower stub is definitely way too big. Let's make this thing shorter. And then this one is slightly bigger. Let's make it shorter as well. Just so that Hux the surface a little bit better. There we go. So as you can see, the ones here on the top are closer to resist a lot better. And this one still has a little bit of room. So I think we can just push this thing a little bit closer. There we go. That's of course going to fold the whole element. And look at how nice the insertion points are. Now, I know that this might not be the exact way appraisers are made in the real-world, like the kind of stitching and stuff might be a little bit different. But if you were trained to come up with like cook quick blocking instead of having to extract shapes and CBR or short poly modal things inside of Maya Blender. This a really fast way to prototype things and we're actually going to make it look quite nice. So let's have a couple of details here to really bring this thing to the next level. The first thing I would like to do is I would like to add a little bit of another fabric piece here on the front, but I want to follow the same shape. So I'm going to use our rectangle here. Just create that nice rectangle right above here. And then what I'm gonna do is I'm going to grab this internal rhyme. Right-click off. So that's internal line. Let's do ten centimeters. Hit. Okay, I'm gonna grab this line. Remember we can double-click here to scale this on, or actually let's call them. So there we go. Because I want to grow this segment right here, only that segment. I want to bring this in degree, this sort of like hexagon shape. Then we're going to free. So this thing, to make it easier, we could get a split right here. There we go. And we're going to think it's a little bit too big. So before we do anything, let's release a little bit smaller. There we go. We're going to use our free sewing tool to go from here to here, from here to here, from here to here, from here to here. Now, when we assimilate, that little flap is gonna go right there to the beginning of our offer element. Now, we could have created another square shape like rather both here and that could have been another, another way to handle this. But I think this one looks in interesting and I think we can get away with a shape. I know it might not be historically accurate, but it looks nice. Now let's have a little bit of, you're gonna love this guy's. We're going to have a bit more detail here. I'm gonna grab my segment points here, my Edit Pattern. I want to add another layer of this shapes that we have here. So let's do this one's first, I'm going to right-click officer this pattern outline, sorry, actually canceled. We're just going to grab the external ones. Right-click and we're gonna say opposite as internal line. I'm gonna go a little bit closer. Let's go like above there. And now I'm going to grab this patterns Control C, Control V to paste on up here. There we go. Grab that little line that right there, Right-click called. And so we're gonna eliminate this outer edge right there. There we go. We also can eliminate this inner sections that we have. We don't need them anymore. As you can see, the ASR, these are mirrored patterns, so that's perfectly fine. Now what I'm gonna do is I'm going to stitch this things on top of this guy to create a little bit more volume under the whole thing. I'm going to go with this two guys are just going to go into free sewing. We're going to all of this. To all of this. There we go, boom. Now you can see that here we are getting some sort of like problems with overlaps on the specific parts. If you get that, just pull and push the cloth. Help health the collision a little bit too. To make this a little bit more accurate. There we go. So the little stretch are going under the, under this main shape that we're adding. Again, it's a very nice and quick way to blocking certain things to you instead of, instead of marble was a signer. I want to do something similar here. Like, I feel like we could benefit from having like a, like a square on this, on this area. So maybe instead of sewing this thing here, Let's show it on this line right there. So I'm gonna go into my sewing and options at its sowing. Let's delete the swings. Well, let's use again are free sewing tool. You're going to move from there to there. We're gonna like closer on the, on the, on the edge of the elements. There we go. There we go. That's a little bit closer to what I was going for. It's jumping a little bit. This is having a little bit of a hard time. In this case, I think it might even be a better option. Let's leave this segment. Better option to just sewing to the other piece of this one over here. So that took one on top. So again, just free song tool, half, half, half and a half. Now we simulate, it's going to go to the top. There we go. I want to distribute a little extra defense piece if you wish. Now that we have that, now that we have all of this elements, let's add the buttons first because I'm gonna show you about the stitching very, very soon. But I want to add the buttons first. I'm gonna go here into my buttons option. And you can actually see that we have this default bottom gonna create a click Add to add a new button. And this one, we're gonna call it a rivet on derivate section. I'm going to change the shape of the button exactly to a robot like this, like the shank button or this snap rebut. Even this like eyelid looks cool. I think we're gonna go with this square, rebut that one. Now if I go into my button options and I select Add button. We can add a button right here. We can add another button right there. We can have another bone like, let's say they're like on the corners right there. I think that's it. I think those would be nice. However, we have a big problem. There are way, way too big. Good thing is we can actually modify the buttons right here. Let's bring them down to, I think five is way too low. That's like an eight. That's working a little bit better. That looks like a nice little robot. They're careful with adding more bonds. We don't need to do that just yet. We can, of course, move the bonus round, for instance, is well-done. Want to move a little bit for this one, since it's intersecting, Let's move it out loud. But we don't want the one thing that we're gonna see here that's quite important we need to fix is that some of the bundles are a little bit too pointy. We can also change the width of the bonds here, the thickness. So let's go through, let's finish off to its gonna make them a little bit flatter. But the problem is, as you can see, they're floating. There's a little bit of an offset. And the reason why they're floating is you guys know that normally when we use the buttons they go across seems and right now we're not using, we're not gonna, we're not going across any buttonhole. So one thing that we need to do is this is on the buttons themselves. We need to select all of the buttons. So select this one is right here and on the options here, on the thread length, we're going to bring the thread length a down. So threatening is how much threat do you have for the button? And if we bring this down, what's gonna happen is we're going to get the, the thing closer so you can go super low. Let's start with a minus 1 first. That should be more than enough. Should be more than enough. But just make sure that I think it is. I think we're in a really good position there. Cool. Well, that's weird. For some reason it didn't work on the other side, but I think we can just select them. All right-click and say mirror, paste or duplicate to symmetric pattern. There we go. Now they're on both sides of our, if our elements. For a little break right here. Cool. Let's go back to selection mode. And yeah, we're one step closer to finishing this racer. The only thing that will really benefit from is having some like stitching lines. You know, how sometimes we had this sort of like thread effect going across the different parts of the thing. Well, that's exactly what we're gonna do. I'm gonna go here first to this one to show you how this works. This are called top stitch is this thing right here. And I'm just going to select again the three lines right here, right-click and create an internal light. Officer. This internal line. That seems to be fine on this one. Now I'm going to go into top stitch and I'm gonna say segment top stitch. And I'm going to select the top stitch, this guy right here. And as you can see, we get this, we get stitches going all across the line that I just selected. The top stitch works or they work in a very similar way as fabrics, bonds and everything else. So we do have the menu for top stitch. And then right now we're using this one's right here. This is a very standard size for the top stitch, which in this case we're using this thing called a pick stitch. We can change this. We can do like a six-sevenths stitch. We can do like Bartok stitch. There's a lot of different ones. I think the single stitches like the most common one, but in this one I think is six x, they will look very cool. I think it looks quite nice. You can change the length, you can change the wage, you can change the spacing, the thickness. The one thing I want to change and it's making me a little bit of math here is the fact that as you can see, we added the top stitch, but it's not on the actual line. It's a little bit further down. If you want this to be exactly on the same place, you need to bring this offset all the way down to 0. When you do that, the top stitches now going to match with the actual position of your elements. You can actually, I believe we can add top switch to the board there as well. So here on the top section I'm gonna say southern segment top stitch. And we're gonna add top stitch all the way across the part right there. Let's just go crazy with the top stitch and add more top stitch just here to our for acids. Let's do that, that, that and that. Let's go on this one as well. All of the outside there we go. Pretty good, right? Not bad, not bad for a Nobel, for a 20 minute quick razor here instead of, instead of marbles. Now for this ones, I do want to add a top stitch, but I want to add it on the inside. So I'm gonna go back to selection and then select 123123, which again should select both sides. Right-click off to the US Internal Line. 60 millimeters is way, way too much. Something like that formula emitter seems a little bit better. And as you can see, since this is symmetrical, it should match fairly, fairly nicely. We could of course create this as a single piece. But just for simplicity's sake, I'm going to leave it like this right now. Let's go back to top stitch to seventh tough stitch and we just keep adding the thought. She's now as you can see here, it's having some issues and it does have a little bit to do with the particle density. I believe. If we bring, if we bring this thing down to ten, it shouldn't behave a little bit better. But sometimes in some tricky areas like this pattern, this stitching underneath the element, you might have some, some issues. Now, one cool thing that we can do with the stitching is we can change the color and textures and everything. So let's do it for like a like a yellowish yellowish light or a dark brown stitch. I don't know. Maybe they've been a black stitch looks interesting because I think whites are way, way too much. So maybe like a dark brown stitch and hit Okay, there we go. We have successfully finished our eraser. Now remember at this point you can do as many things as you want. We can, for instance, change the color. That will be something super simple. Let's go like this guys right here, right-click and cut. And so then on the materials, Let's go back to fabrics. We can just grab her letter copy and call this dark leather. Change the color to something a little bit darker. Just drag and drop this onto the new pieces that we wanted to be a little bit darker. Maybe. This little extra piece and the straps. I think those are good places to have this sort of like dark, dark glitter effect. There we go. We again have created a very nice successful brace or pattern. You can go as complex or as simple as you want. You can do a very simple like a gladiator risk, which is just like a cylinder. Or you can go super, super fancy, angry, different plating effects. This by the way, could also be transforming to into armor. You can use this as basis for an armor. There's actually some patterns out there about how to build armories and you can use, you can use those to create arms as well using this exact same method, which is the thickness methods and the layering methods. So I'm gonna save this real quick. Save project. Let's go to our chapter. We're going to save this *** medieval rates. Remember that having them as separate pieces is a little bit more efficient, especially if you don't want to combine them all into a character. Because that way you're able to just select what works and what doesn't work. Yeah, This is it, this one guys, in the next video, which is gonna be the final video for Chapter three, we're gonna be talking about materials. We're gonna be talking about rendering later on on the final chapter when we talked about the other systems like my eye in Blender and the Momma said, but for now, I want to take a look at how to give a little bit more color to our things. Hang on tight and I'll see you back on the next one. Bye bye. 15. Materials and Textures: Hey guys, welcome back to the next part of our series. Today we're going to continue with materials and textures. We're going to take a quick overlook them. Now. As you can see, we're back on the original, like a garment creation. I'm gonna do something that's going to be really important sometimes when we maudlin, we save his garments, the apertures did not get saved. And if I were to open the government and then open the avatar, since the birth of the aperture is different than the one to the government, then we might get a different result, which is not what we wanted. In this case. I'm going to open the aperture first. I'm going to post it into this low post, which was the one that we have, I believe this one. Now I'm going to say File Open Project and we're going to open our medieval athlete. There we go. I'm gonna say f garment only and we're gonna hit OK. And technically it should fit perfectly fine. Just be mindful of that because sometimes I've had that happened and some of my students freak out because the mold something really, really cool here on a marvelous and then they can't get it to work properly. We're not even going to see the avatar, to be honest, I only need him for the simulations for the vertebrata, one that we want to include the eraser. Now, I'm going to select all of this pattern, which is the cow. Let's move it into one side. Since the cow is not gonna be. Actually, that's, that's the road. That's fine. So this one right here, which is a cow, since this is not gonna be effective, I can press Control K to freeze it. Let's get rid of the hair and the shoes as well. There we go. For the pants. Like we were not really going to be using the pants so we can just grab it depends to one side. I think that's the bell for the pants. Again, grab everything, Control K to freeze it. Because we really just need this thing right here the later. Now I'm going to say File project and we're gonna add army double by certain, hit Open. We only want to add this in only the garment he'd opened. No, I didn't want to bring the posts. And there we go. That's our eraser. Let's position it. I mean, the cool thing is that we are following the character as nicely as possible. It's just a matter of positioning this as close as possible to where we want this to be. So that fits the character. There we go On the layers, remember on the properties for this thing, we're going to isolate layer uncertain number one. Just make sure that all of this thing is set to layer 0, which it should be. Yes. Now, when we simulate, it'll go below the object. And what I'm expecting to see here is even to get some nice little effects right there on the column. Look at that beautiful, like all of the wrinkles from the stuff. So maybe this guy is an archer or something and his getting ready, I mean, if he was on an archer who will have this thing on the inside. So to protect the arm. But this is just a nice little eraser there that looks pretty, pretty cool. Let's get rid of the avatar. As I mentioned, we don't really need him. Let's stop the simulation. And there we go. We have a really nice result. Now, before we move on to the materials, I don't want to do a couple of things, so let's freeze the cow Control K. I'll freeze the parent's schedule. For this main patterns. I definitely want to reduce the, the particle distance at least on the main body and the shirts. Let's bring this down to 20. Let's bring it down to ten. Gonna give me a better wrinkles. Same Florida pants. I think it depends really neither. A couple of more particle distance will be more particle distance. Bring that back to ten. And we can't simulate again. Of course at the simulation is now gonna be a little bit slower. Remember this old depends on your system or your computer. In mine, it's relatively workable. But I know that sometimes computers can get really, really, really, so we'd have a really, really nice process here. The following thing that I'm going to mention is just the basics. It's just the basics of texturing. Okay, this is something that we normally cover in other courses that I'm just going to guide you through the basic things that we're gonna be using here inside of a marvelous, as you can see, all of this fabrics that we've imported which we're going to be replacing, are working with this basic parameters. And we're expecting to have a texture map which is the color, a normal map, and sometimes event like a reflection map or a metal mismatch. Here we go. Here's the middle in this map. It doesn't have a roughness map. Usually, usually you want to have a roughness map to give you better results. We're gonna talk about rendering. Rendering as a cipher mentioned before in the final chapters. But for now we're gonna stick right here. Now as you can see, we are using this thing called a PVR material, and that's the physically based on rendered material. This kinds of materials living in the industry for a long time. Now, I remember when they first were being used. I used to say this new materials but now like seven or eight years later where this or completely standard, I can't say that in the more the PBR materials are physically based on Render materials, meaning that it doesn't matter what kind of illumination your it's in your scene. They're gonna react physically accurate. They're going to bounce the light and the reflections and everything in the physically correct awake. The way this works is you're going to have four maps for very, very important maps that you should memorize. The first one is going to be your diffuse map. This is gonna be your color map. And he's going to tell you how the object looks. So if you're doing a banana that's gonna be yellow. If you were doing an apples is gonna be a rent. That's diffuse map, the colormap in marbles, they call it a texture map, but it's not really, that's not the right name. It's it's supposed to be a diffuse or a color ramp. Then we're going to have a metallic map. And our metallic map is going to tell us whether the object is metal or not. If it's at 0, it's a nonmetal. If it's not the one, It's gonna be a metal. This map, very important. There's gonna be a black and white map. Gonna be just black and white. There's usually not gonna be any gradient because you can have an object that's like semi-metal or anything. It's either a metal or nonmetal, like plastics are non-metals. I know asphalt is a non-metal, and then aluminum, copper, bronze, gold. All of those are metals. So it's either black or white depending on what we're doing. Then we're gonna have the roughness. And again, as I've mentioned, there's no roughness map instead of a substance. So that's in substance marbles. So we won't be able to see this one in action as I would like to. But the rough ER is not hotel, how the light bounces off of the object. If the object is very rough like asphalt, like a dirt, like coal, things like that, like foam. Then light is going to scatter on the surface and it's going to, it's not going to go back as much like this. This is a very rough element and this is a non roof elements. So this will also be a black and white map. If it's wide, meaning it's rough, you're going to have a very matte surface. And if it's black, meaning it's not rough, it's gonna be really shiny. It's gonna be reflecting a lot of the environment that it's. Finally, we're going to have the normal map. Now, the normal map actually doesn't have to do anything with the physically-based rendering. It's been used before, that's even. And this one will add the detail, we will fake detail on the objects to make it look a little bit better. In our case, it's going to fake the grain of the cloth. So all of those little fibers of the cloth of different fabrics, That's what we're gonna be seeing here on the neural net. Now you might be wondering, okay, that sounds interesting, but how do we get this? Well, in this case we're gonna be using a site called poly Haven. But the heaviness of free site that shares a model's textures and HDR eyes. I use this one a lot, pretty much almost every single day. And if we go into the textures, you're gonna see that there's a lot of textures. Now, most of these extras are useless to us because they're more for environments and stuff. But see this we have leather, leather red, okay, so we can click on this and you can see that we have this shader, and this is how we would expect this material to look. Now how do we get the actual textures? You're going to click over here and you're going to select the maps that we want. In this case, I want the color. So in this case I think we have this color one. It's gonna be a JPEG. We want the ambient. Ambient occlusion refers metallic, which it's going to combine all of them into a single one or, or we could also just do What's the word we could do, like separate them on this elements. I definitely want my normal map. Usually OpenGL is the most common one. I'm going to export this as a JPEG in this case just to keep it simple. And I don't want the roughness, even though we're not going to be using the roughest right now instead of marbles, either want to have it. So we just download this. You're gonna get this a zip folder with all of the textures. These are for Keith extras by the way, so they're quite heavy. And it's all of this now, you don't have to download them. I'm going to give them to you on our folder. Give me just 1 second. There we go. Here on juror chapter three folder, you're going to have this textual records. So it's the leather, a red arm. This is the ambulate cushion refers metallic. It has three values in it. We're not going to be using it properly. Now. We're gonna use it later. Once we go into the other softwares, we have the color, the normal, and the roughness. Let's work with this one. I'm gonna go here into, into marvelous designer. And what I'm gonna do is I'm gonna go to my leather. And here on the texture I can just click on this little button right here. And they will navigate to the Windows Explorer. And if you go all the way to your chapter, you can load in the textured hit open. As you can see, there we go. We have the texture in the leather texture. We're going to fix this, don't worry, but as you can see right now, the color texture is there. Now we're going to go for the normal map, which is this one right here, it open. As you can see, this will give us a little bit of that sort of effect. It will make it so that it looks a little bit better. Again, we don't have this. Oh yeah, here we go. Forgot about that one. Map refers map and hit Open. And it's going to make it look and react to light in a better way, in a more like a natural way. Maleness, we're going to keep it at 0. This is not a metallic object. If we wanted this to be a melody, will just push it all the way up. But in this case it's not a metal. This we could add, of course a map, but in this case we don't need it. Now the one thing I wanted to change is the green. The green is way, way too big right now and it's not looking like leather. So if you guys remember, let's simulate this real quick. There we go. First of all, let's select this and bring the layer back to 0, so we don't see it anymore here on the options. Let's not show internal lines. And let's not show I'm seeing, I think I'm seeing the thickness of the object. I'm not seeing the thing that's up. There we go. So here on the leather options, remember this is on the fabric. We just need to change this to thick texture. There we go. Now it's working properly. Here on the 3D view. We're going to go up here to the texture map and we're gonna go to Edit Texture. Click on the texture. And if you click on this guy, we're going to be able to either make this thing bigger or smaller. In this case, of course, we're gonna make the grain smaller so it matches the size of the green that I'm expecting to see, which would be something like this. In this case, just to keep it simple, I'm going to use the same letter for all of the pieces. I'm just going to drag and drop this on top of the other pieces. But of course you can download different kinds of others. You could bring this leather into folder, sharpen and tweak the color a little bit to have a different effect. Right now, we're not going to see that the proper reflections in the proper normal map. I mean, it is looking quite nice as you can see. It's better than just having the white color, of course. But yeah, you're gonna have to play around with other parameters to make this thing work a little bit better. That's the first way to do. Now as you can see, we have a lot of fabrics here. Let me delete some of them. I'm trying to see which one that has. Okay, let's try it. Let's try color here just to, that's the rope. Perfect. Here's what I'm gonna do now. I'm going to select this one which we already saw here. It's the robe and the pants and pretty much everything. Let's select it looked like at some of the other elements. Let's change the color on some of the pieces. I don't want all of them to have the same effect. Just assign concludes his wealth and materials. There we go. Now on this boundary right here, I'm going to call this tunic. Tunic. We're gonna use the second system. The first system that I just showed you was the color system. Do you do download the textures and then you import them and set them up the week we just did. The second system is to use a substance file. For those of you that are out of the loop, there's a really, really, really, really famous software called Substance Painter. It was bought by Adobe a couple years ago in 2019, I believe. And Substance Painter is another industry standard for texturing. We also have some courses if you want to check them out. But the thing about Substance Painter is if you subscribe to their package, which I believe it's about 40 bucks a month. You get access to something called substance 3D assets. And in the substance through the assets, you have access to a lot of materials right here. So I'll assets and if I go for instance, to fabric, leather, even like look at this 1000 leather options for your, for anything that you might be doing. Very interesting kinds of leather animal leathers, a car leathers, lot of logos, Globalstar, we have fabrics as well. Pattern fabrics, stylized fabrics, carpets, embroidery is like so, so, so, so many things, military fabrics. There's so many things in here that every month when you're subscribed, you get 30 points and each asset that you download, it's gonna be 1. Let's say I wanted to download. I'm like, I don't think this guy will have a lot of let's look forward like wool. Let's see if there's like a wool. There we go. Like this is stylized wolf. That one looks pretty cool, or this wooden nylon Canvas. I once also quite nice. This one looks like really, really old, really fashionable, right? So I'm gonna, I'm gonna download this thing called an SPSS R, which is a substance archive. And this substance archive is the one that we're gonna be using that unfortunately, I can't give this to you guys. It will be a breach of the terms of use for the things because I can't just distribute these freely to everyone. So you're gonna have to either get a subscription to get the most Elvis or you can also go to a place called a substance share. Substance share is the place where artists can share their stuff for free. So there's gonna be a lot of free stuff right here. For instance, hearing fabric, fabric, leather, There's also some leathers, there's also some patterns. They're not as good, they're not as professionals sometimes, but you might find something that looks quite nice and that you might use. You can also download any of this once you of course, need to create an account. And it works the exact same way, like if you download this, as you can see, this is also an SFS BSR substance archive. And once we're inside of this guy, if we go here, I can change the option here from PBR to substance. And when we do that, it's now going to expect to get an input from the substance materials. I'm gonna go here to open. And if I go to my downloads, I can get this Woburn that we were using. He'd opened and the acid will be added with all the textures, all of the elements that we need. And there we go. Now here, I definitely thought we already had. That's fine, just everywhere. And there we go. We have our nice little fabric pretty much everywhere. Now, one of the cool things about the substance files is that there's a lot of customizable things that we can change. For instance, firstly, I think I'm going to change the scale just to see a little bit like a bigger There we go. If we go down here, if we go into the, into the options of the fabric, you can see that we have costs and properties. We can change the color, we can change the roughness, we can choose the metallic. Sometimes there are presets that you can change around. This would've been like this one, trained full green leather or not. Sorry, that's the physical properties. We can change a lot of things. So for instance, I think we're gonna go for like a really traditional brownish looking element, a little bit desaturated, dark desaturated brown. There we go. But look at the detail, look at the amount of detail that we're able to get just from using dead material. Pretty cool. And at any point, this is one of the things that I loved about the substance files, so we can just duplicate this copy. Then we have another one. Let's select the cow, for instance. And apply it to the cow and then this one, since it's another instance of the object, we can also go to the custom properties and change the colors. Let's go for a green. I think like a forest green that would be, would be interesting. Here's where we would definitely need to go into some historical deep dive in and make sure that we were using proper colors for the for the for the time period. But yeah, look at this in a very, very quick way. We can all all of these things now, normally, we would add even more detail instead of substance like shadows and highlights and scratches and stuff. But for a preview It's not bad, right? Like we're getting a really nice result. Um, make sure that if you're not using your fabric, try to delete it, because otherwise it becomes a little bit difficult to work. You won't be able to deliver fabric if it's being used. So for instance, here, when I select this fabric, you can see that the pants are selected. I'm going to again copy this guy. So I knew one, grab all of these guys, fill them in. And in this one I think I'm gonna go a little bit darker against this one. Costume properties. Let's just darken in the saturated this thing a little bit more like a dark olive green. You can see that we have another threat, this one right here, which we should always are also change. There we go. That's I think, to green. Let's bring the saturation of the color a little bit down. Both of them together are going to give me the result of a going for here again, here's where you can practice all of your your traditional like a color patterning techniques and finding what the best color is for each specific element. One thing I would like to do, I think I wanted to clone this again, like copy this woman fabric. Let's go down here and they get into custom properties. I think I wanted to make this a lighter, just a little bit lighter. And then I want to use this for the for the wrists. Which is that we have a little bit of fun of a difference there on the wrist. There we go. This is how we import materials and import textures inside of marvelous designer to get an even nicer render here for the character. Now remember we still have our, What's the word? Our character? So we can use one of this poses. I'm gonna save this quick. I'm gonna say the project, just save it as the medieval outfit, which in this case it's gonna be, it's gonna have all the pieces. One thing that I forgot, I forgot to add the material for the buttons. The buttons. They have their own stuff over here, the rivets that we added here, they have their own material. So in this case I think I'm gonna make them like a golden buttons. So I'm gonna grab like an orange color, probably a little bit more desaturated, going to like a white. And very important, we need to change the maleness all the way up because we want those to be metallic. You won't see that much of a difference here. There's gonna be a little bit shinier, but that's pretty much it. We can change the roughness depending on how we want them to look. Wanted if you wanted to look a little bit shinier, just bring the roughness down. And remember, that's gonna give us like a nicer effect. Yeah, that's pretty much it. So as I was mentioning, I'm gonna save this file, save for us. All right? I saved, normally, I want to save as and I want to save a poster version and that's just in case I want to get some renders and stuff. So I'm gonna save *** project. And again into our chapter three, we're gonna save this as medieval Outfit. Post. That way if I want to get renders are when they get stuff, I'll just suppose one. And if I wanted to get back and modify certain patterns, I'm going to use up this one right here. Yeah, there we go. That's, that's pretty much it. Let's change the pollster. I like this post hit. Okay, you can see the aperture moving a little bit. It's a very like a contrapposto pose. This is a very, very normal, natural poses. There's more poses here, by the way. Remember, we've talked about this before. You can, you can select older pulses, No problem. But yeah, this is pretty much it guys. That's it for this chapter, we're finally done with this full body clothing as you just saw it very similar to the uniform that we did in chapter two. I'm trying to teach you guys like different tips, tips, tools, and techniques that you can apply. The tools inside of mobile designer are not difficult. You need to know a little bit more about tailoring, which is what we've been covering so far. Next chapter, we're gonna go back to the fancy stuff and we're gonna get some dresses for our girls. Maybe they're going into a ball or something and they want to look very pretty. So we're gonna take a look at more patterns and more dresses. And the after that, we're probably gonna be jumping onto our final project, which I think you guys are gonna really, really like. Hang on tight and I'll see you back on the next one. Bye bye. 16. Casual Dress: Hey guys, welcome back to the next part of our series. We're going to start with chapter 44, chapter four. I have something very fun. Prepare for all of you. We're gonna be doing a sort of like evolution of address for a character. I'm trying to imagine that this would be a character that we would find in a film or a commercial or like a series or something. And throughout the animation and throughout the whole presentation, she would be changing outfits until we get through a very important part of her character evolution. This is something that isn't quite a bit inside of him. Instead of movies, one of the ones that they can think that was really important was frozen when Elsa was developing her powers and she was a change in half. It's until we go to the final song, Let It Go song where she completes the transformation. Dresses, garments, cloth, and can be used to convey a lot of character specific things. It's not just about making them look cool, but it's about what they like go transmitting. We're gonna start with this stress right here. It's called this Tito to be in your dress code is because this is like portuguese. This is a very nice side where the wave, you want to get free patterns to use them as inspiration. This is a really great way to go because motor.blogspot.com, and this is the one we've talked about patterns before. We are gonna be tracing this pattern, but that does not mean that we're gonna be using the pattern completely. I were going to be doing a lot of modifications to it to make sure that it fits our character. Because one of the things that you're gonna know this is that characters won't always be the same. So in this case, she said low bit slimmer. I think here on the waist, she doesn't have the shoulders as broad as her in this image. There are gonna be a couple of things here and there that we are going to need to modify in order to make sure that we match the decarbonize as close as possible. Now this is really good because we're also gonna be seeing how to block in different colors and it sits a tricky one. You can see here that the address is a form fitting dress. And it might seem at first that is gonna be really easy to just like, well, this is just a rectangle, let's say, believe me, it's a little bit more tricky than you might think. We're gonna start with this stress first and then we're going to jump into a couple of the other ones. This one, I'm imagining that this character, she's just like minding her own business, like doing her stuff, going into the office to work, and then she meets the love interests. And after they toggle, maybe they're heavy like a funny situation, funny gag or something. Then she's invited to a drink and she goes with this nice, pretty addressed that we're also going to be modeling. And then after that she goes to a big party like an important party. You know, the typical love story, the crisis, maybe they are about to break up and he wins her bag or something. I don't know. It's just a general idea. But then we're going to end up with this a wedding dress that I have here for you guys. So yeah, that's pretty much it. That's gonna be the orders is gonna be the chatter. We're gonna be doing several dresses for her. This is the avatar, see, and she's going to be called Camila. She's gonna be our modeled throughout this chapter. Let's go. I'm gonna go right here. I'm going to add background image and we're going to Option or select this stdio to being able to do scores to as CODIS, which is two course it has to pattern segments. Let's make this 200 so it's a little bit bigger than a hit. Okay, actually, let me go back here and move it to the side. There we go. Now, if we take a look at this, usually in patterns in order to again, to save space and stuff, they won't show you the whole pattern or, you know, when we have our whole banners laid out here, it's a lot of the fabric. They're usually just gonna show you the front, the back and interests of sleeves on one side of the sleep. Sometimes you have to kind of guess what the next pieces are. So that's why we've pattern using patterns can be a little bit tricky because you might think that all of the information is here, but it's not so yeah, just just keep that in mind. Now, as you can see here, there's no law of instructions and there's some interesting parts that we want to get us nice as possible. So you can see that on the front we have this nice white panel and then on the sides we're going to have this black panels. It's a very form fitting dress. So that means that we're gonna have darts river, we talked about doors before. Darts are really, really good to remove some fabric and give us some more form fitting effect. These lines that you're seeing right here, that's the black dress. That's the black pattern that we're gonna be using it again, in the real-world, we might use this indications, but here in the model designer, we might have to use a couple of different tricks to get this to work. Let's start by tracing this real quick. I'm gonna go to my polygon options. Let's go here. Here, I'm going to press Control to add the curvature here. Remember it once we get to a point like they're just click, once. This is straight, we go all the way down. This is straight. This is a straight all the way here. This is a dark. You can see a dart here. Very important. So we're going to add the dark already here. Then we have two points of curvature. Click, click another dark right here, and we close. That's gonna be my front pattern. Easy, right? Not that difficult. Let's go down to the back pattern. That was, you can see the backpacker and actually it has a little bit of inclination down here. I'm gonna keep it straight and then we'll modify it if we need to. Change your later on. We also have a dark here. Now you can see this starts to curve. I'm going to talk about curb darts in just a second. But the curved parts, it will give us a different effect overall. So let's just finish there. There will a curvature there, and that's it. So that's front and back pattern dot. Of course, we can work on top of this element or we can work on the character itself. The one thing I want to add are this inner darts that we have right here. So I'm gonna go to my options and to the inner polygon. And we're going to add just one big dark over here. Now you can see that this Dart is longer on the top and shorter on the bottom. You want to make sure that you take that into account because otherwise, thanks. Am I not look like the reference. Now we have that. Let's position the dark roughly on the position that it's supposed to be, which is about there. And we're good for this dark over here, we're gonna have another dart. So there we go. I can see the bottom part of the dart is lower. So let's go into our Transform tool. Grab these two guys and bring them down. I'm also going to double-click the center and expand them a little bit. You can see that the dots a little bit wider on one of the sides. And let's just move the whole thing. Double-click and just this thing closer towards supposed to be. There we go. Now we saw in the darts, very common mistake, people make, they make the doors, but they don't sell them in patterning, especially when you're doing this sort of thing in the real world. One of the things that you would immediately do is showing the darts, such as sewing all the dots so that we get the proper development of the other pieces. Now, here's where I'm going to bring this pattern. I'm actually going to keep them here. We're gonna be using them quite a bit. So I'm going to keep them here because we still need those blue lines at four for something very, very shortly. I'm gonna grab this guy. I'm just gonna say Control C, Control R to do the mirror paste. Then select wants to like the other right-click and say, symmetric pattern was totally apply linked everything symmetric pattern was showing Same thing here, control C, control, sorry, canceled. Control C, Control R to do the mirror, paste, paste them here, section one, select the other right-click, and we're going to a symmetric pattern with showing. Now we're going to solve them together. So let's sewing the backs first and then the front. There we go. We can live in the merge them. There'll be another, another option like, especially here on this garment. I'm seeing that it's like I don't really see the middle line. So it might be a single pattern that we need to merge. But for now, let's keep it like this. And we're going to use, of course, the power of the arrangement points in our character to place them where they're supposed to be. So let's go to the arrangement points. That's my front side. There we go. Then we select this two guys. And that's my back view over there. Got them a little bit lower. There we go. I think that should work. Now of course, we need to show them from front-to-back. We're going to go again to our sewing machine. And we're going to show this start to, start, this start to distort, which is the side darts. This section. To this section. Let me, let me move them a little bit because it's becoming a little bit difficult to see which one of this, so again, segments sewing this section to this section. And that should be actually this section to this section. There we go. So now if we see me late, sorry, forgot about the top side. So on the top side we also need to show them together. And here's where I was, of course, prepared on this one. Here's where we're going to find our first problem. The first problem is that on the back, if we take a measurement on the back, the front first, this two segments are 82.5. This segment is a 188,018.8. So it's not matching. That means that we're going to have some extra fabric here on the back. And you can actually see this here on the pattern, how it stops right there on the blue line. That blue line were expected to cut that BlueLine off. Okay, we need to get that blue line in. So what I'm gonna do here is I'm going to add a point like this one. I'm going to split. I'm gonna select by length and I'm gonna say 82, I believe was 82.5. Just one segment. Okay. Now this is 82.5 and then we take this two is 82.5 as well. But I didn't want this. I want this to be on the other side. So again, Right-click split by segments 82.5 and I'm gonna change this and reverse it and hit Okay. You can see that we get the point right there. So I'm going to grab my internal line tool. I'm going to grab this point. I'm going to bring it down to about, as you can see, it's kind of aligned to the dark. So let's align it to the dark. That's going to make it easier. And then from here, we're going to align it to the line. There we go. There we go. Hit Enter. Now if it doesn't go there, no problem. We just grab this guy, right-click, I'm gonna say extent and that point to internal line. In this case it's gonna go all the way down there. That's fine. Just going to right-click. I'm going to hit at 0.2 intersection. And now this point right here, we can delete. We're going to have a very cute dress ready. Scrap that. That point just deleted. There we go. Now, of course we're gonna grab this guy and this guy, well, we're just gonna call them, so right-click codon, so I'd like to meet. So let's start with first one here, coding. So there we go. And then let's do this one codon. So because it's a little bit difficult for it to know how to cut on two different directions. This should make it a little bit easier. Now as you can see, this piece, we can just get rid of it. So it's gone and out this section right here, this pattern has the exact same length as this two patterns on the front. Of course, that's going to make it easier. Yes, let's go to this site and delete this piece. I'm going to grab the freezer into. Of course, we're gonna go from the center to the side, from the center to the side. And then the next two points. The next two points, there we go. Now when we simulate that, well, no worries. Sprawling like what's happening here. Trying to see where the issue is. Like I saw something wrong. I can't see where o there. You can see that sewing line right there. It's going to the other side. So let's go to our edit sewing. Select that sewing right there. Which one is it? I think it's decides. Sorry, There we go. Yeah. Was that site sewing and I guess this one as well. Now let's resolve this segment sewing. We're gonna go from there. They're not too there. It's from there to there. There we go to the close one. And from there to there, perfect. Now we simulate and we have the stress. It's intersecting a little bit, that's fine. Let's just move them out. And there we go. Look at this. Not bad, Not bad. Let's bring this down a little bit up just to make sure that the pressure is not that bath. Now you can see we have some weird pinches right there. That's fine. We're gonna leave them for now and we're gonna be changing them very soon. But the fit, especially if you're on the neck, looks amazing. I really like how the fabric is looking. There's five. This is not, this is not silk. So the cloth, I'm not expecting the Cloud to go all the way to the actual section of the character right? Now, one of the things that you might notice here is the fact that from here, from the front we have this nice line. And there's like a wide line going around the side of, of the breast. So we want to align or when I tried to align at this start to this side so that it's easier to find that point. And here's where we're gonna be deviating a little bit from the pattern itself. So I'm gonna go here to the front pattern, which is this one right here, and this panel right here. We're going to start moving it a little bit more to the side, like right about there, trying to follow again this line. So imagine that we have in the imaginary line going, well, it's not. Imagine Ireland, we'd have this line going down here to the curve and there's gonna be a point right about there. And from that point we're going to create a curve or a line that's going to go and create the front paddling. I think we're close there. It's simulate. There we go. Usually, usually not always, usually. To the highest point on your character, which in this case would be the nipple. Of course. We can move this thing just a little bit closer to the center. There we go. Now we need to create the internal lines that are going to mark where our color segments are gonna be working. We already have some of them are back here like this one is actually quite easy. I'm just going to grab my internal polygon line again, go from here all the way down, just hit Enter. Technically, since we already have this side panel Solve, because we're just gonna have this nice white band on the back. We could already select the component, right-click and cotton. So for this one right here column. So now I know that this panel right here is gonna be the black panel. Just gonna be the black panel here on the, on the back. I'm gonna grab this black panel and I'm actually going to add a new fabric, this fabric to just change the color. Let's go to black. Let's go to like a dark gray instead of black tends to be like really a little bit of noxious to see here on the viewport because it's like way way too dark. There we go. Yeah, of course. If we see there's still a couple of pages and things that we need to solve. This part right here. A little bit weird, I think I want to move this start like a little bit higher or lower? Lower. And we're going to grab this two points on both sides. Let's move them down a little bit. Because remember dots take away fabric, right? So that should give us a better fit right there. I don't want to move them all the way down. Let's move it a little bit up. There we go. That looks a little bit better. Now we could also reduce a little bit more clothing on both sides. That's going to pull. The fabric a little bit more, gonna give us a better effect. Now, here's where I want to talk about the round dots that we saw. You saw that we had this sort of like round dart over here. Round darts. I've heard they're sometimes called a princess starts because they create this very, very curvy linear effect. So you can just grab this two guys, these two points right here, right-click and say Convert your curved points. And that's going to change the way that the dart works. And it's going to, as you can see here, make it a really, really nice and form fitting on this area which looks really, really sexy if you asked me. Yeah, now it's just a matter of finding where to place it. This other two dots, I think we need to lower them a little bit more so make them really, really white. There we go. That's a lot more form fitting. Now, I just wanted to really quickly check the this thing called the strain map. As you can see, I've heard it in 20 strength is not that bad. Just be careful that you don't go like super, super high. Because a strain that means that if the character moves in a specific way, the stitching could just like a collapsed. And I know that in our case it really doesn't matter because we're doing this sort of form filling things or whether this gives us a form fitting address. But if you were to do this in the real life like this will be really problematic because if she were to bend over to pick something or, or whatever, uh, she might like the seams might burst. So it's important to to try to keep the detention as a soft as possible. Now, as you can see here, like this, super forfeiting might be appealing, but it might be a little bit uncomfortable as well. So if we want to, we could grab the inner edge right here, just give it a little bit more cloth on both sides like on the backside here. Just give it a little bit more clef. Maybe even add a little bit of volume there. And that way it's not going to be S S form fitting, especially here on the bottom right. Just, just be careful that you don't want to make things too weird. Let's turn the pressure points off for the straight-up off, and there we go. So on the back we have a really, really nice effect. Now on the front, we still need to mark where the satellites are gonna be. As you can see, it seemed like this was going to be an easy one. Like just like a rectangle pretty much form fitting and that's it. No, no, no. You can't get quite tricky now. You can see this point here as well. This one, I don't really like it. It looks really off to the effect that we're going for. So I'm also going to convert that to a round point. Now when we stimulate, we're gonna have a nicer transition from one panel to the other. There's I think, enough, enough room for everything. So this is looking quite nice. Now, you can of course change this. For instance, if I don't want this much black on this side, we can either push it in and then move this two guys. And we can do this together more black, or do this to get less black. And depending on the kind of effect that you want for the garments, I'm not seeing the backside. I mean, we have this backside. It seems very straight to me. So that's why I'm keeping it straight. Of course it's not going to be straight on the model because we have the but, but yeah, just just keep that in mind. Now there's a little bit of extra cloth there. I definitely need to grab this curve. Let's go right-click. I'm gonna go here to the options. I'm going to change the curvature. Just like lowered the curvature up here. So we don't have as much cloth and we don't get any weird like bundled up there. Looks a lot better. Let's go onto the front view. The front view, we already have the main element right here. Like the Maine border of address. Everything is looking quite nice. From the reference again, we can see that it goes pretty much straight, like we have a straight line going in the same direction as the element, and then we have a spiky thing here. It's not round, It's a spiky. We're going to have a nice interesting shape right there. And we talked about this before. Each shoot kind of match with this thing we did DOD right here, but unfortunately, it doesn't, at least not with our character. We had to move the dark here where the character together a better fit. And we need to find this a little bit more like manually. So as you can see, it's a little bit above the bus line. So it'll be like the round there. Like there. That will be the point where the straight line goes and this straight line that's going to go around the character and down into the, into the site pattern. So here is where I would need to do a little bit of, are we weren't gonna need to do a little bit of like free handing on the thing. Now we can actually go here to the line 3D pattern. And we can start here and say, okay, you know what, I'm going to start doing my line here. I'm going to go around the bus. Then like down there. Hit Enter. Again. We're gonna go from that point around to give this sort of like slim figure. Let me redo that one again. Around to get the slim figure on the side. And then around again. And we end up 3D straight down here and just hit Enter. Just click, oh my God. That again. There we go. Now we have this line which as you can see, it's not very, what's the word? It's not very obvious that we had to create this curvature. If we wanted to create this curvature here on the element in might've been a little bit difficult. So I'm gonna go here to the Edit line on the avatar. This one, I'm just at a line through the pattern. There we go, right-click and I am going to say cotton. So now as you can see, we have cut this pattern off. We can add the fabric on both sides within the credit, the symmetry. That's why that's weird. Let's just select this line and let's go back first. Before the sewing. Select this line, right-click, duplicate the symmetric pattern. There we go. Now we select the both lines, right-click codon. So now we have the panelists and I would just add this slice right here. There we go. Now our Dart has this nice sharp change right there. And we can modify the point of course, but I think this really finishes or fulfills what we went at it now. Of course, we're getting some weird pinches over here and we need to fix those because they're looking a little bit weird. So for instance, this start that we have here, it's looking a little bit too extreme. I don't love it. For this one. This one on the bus is not that bad. Let's just turn off internal lines on the 3D view. That one doesn't look that bad. What I did see was that the line is supposed to be using the Dart as as a, as a helper. And I think we need a little bit more black onto the, onto this area. So I'm going to go back here. Let me just make sure that the sociometric patterns, if I move one of these ones, adjust the curvature. Once they turn. There we go. Simulate real quick. There we go. I'm going to grab this curvature. I'm gonna try to get it as close as possible to the dark. Again, just go here to the pattern section, Edit curved points. Let's just transformed points closer there. And then we'll select this other pattern. We go into Edit curvature, pushing this curvature in, right? So we're taking away from the white area again and we're giving more area or more more volume to the other parts. This is all tailoring guys. This is, this is how we started like modifying the sort of like tailoring things. Because again, as I've mentioned before, patterns are really, really good, but the patterns are not always going to work the same for all your characters. So you're going to have to adjust. So for instance here again, the fit on this start, I don't love it. So I think I'm just going to move it up a little bit. You can transform point like way, way too low. Way, way too high. Maybe we need to bring it lower. There we go. It's going to give us a nice sharp effect over there, but I think, I think it's going to look nice. That's it. With this. We're pretty much finish with our first address for our character. She's ready to go to the office. She's ready to wait. That, that dark right there. Horrible. Let's change. This starts to Princess starts. So again, convert to court points, convert anchor point on both. Very good. Now I see a pinch there. We could try and move the point to the side, like Cabot, like having merged to the pattern site as close as possible. That could relax a little bit. There we go. So see how we're hiding the pattern on that side. I'm not sure why it's not doing the live editing on the other side where we can just manually move it. We're not have light editing turned on. This is already acting as a dart. So actually I think we can delete this start to be honest, because this area right here and this area right here, they're already acting like darts. Now what I can do is again, change the curvature on this, on the white area. Push it a little bit in like this. And that's also going to look at work, as I said. A little bit more relaxed as you can see again, if we want to make it more form fitting, we definitely need to go into the curve points. There we go. Let's just start pushing this. Because again, this sort of thing that we're doing here, this princess start AC dark, where we're removing some of the clothing pieces and we're creating this very nice pattern. Now of course, final touches, just grab all of the patterns. Let's give them more particle distance like a tenth. Simulate. We're gonna get a couple more wrinkles here and there. Just move this thing to make it feel a bit better. We can change, of course, the fabric to like a title one. I like it. Wrinkles, rubber wrinkles are not bad. They can be very helpful to give some life to the whole piece. We could add like a ham on the top as well, but we're gonna have to leave it like this for now. I think that the next little bit too, there's too much cloth here on the neck. So again, let's go to this point. Why do we not have patterning? Weird, really weird. Symmetric is LinkedIn and start off. Let's go here just like one to the other should be symmetric pattern with sewing mirror patterns. Oh my God, see what happened there. Horrible. It seems like we lost one side of the element. That's why we're getting such a weird effect. So Control C, Control R, that's fine. Let's get rid of the middle section. So what I can do here is I can just, I mean, we can do the symmetric pattern with sewing. And then I can select the segment or the pattern and just merge this. That way. We don't have the middle section on the government itself. Pretty sure we're missing the stitching on this side, of course. So let's switch this back. The easiest thing to do here, to be honest, just to make sure that things work properly, is to go into Edit, sewing, and delete all of the, all of the songs on this, the government. There's no sowing lines anymore. And that just rescale everything. Segments sewing. Let's join the dots. There we go. Then this segment goes to that segment. There we go. And finally, with the free sewing tool, we saw in the back. That should be it. There we go. Now the next looks a little bit nicer, a little bit more relaxed. Again, we can change or get rid of some of these elements. We can even add another dark here or something to remove some of the clothing. But yeah, that's it. Our address or nitrous or our office address. I'm gonna call this the office risk is looking quite, quite nice. I really like how it turned out as you saw, AS not as simple as just following the pattern. That's why it was very important for me to show you this whole process. But yeah, that's it, guys. I'll see you back on the next one. Bye bye. 17. Date Dress: Hey guys, welcome back to the next part of our series today we're going to continue with the next stress. We're gonna be doing a date address. Now. I'm back here into a new file. I'm just going to right-click. I'm going to go add background image. We're looking at recent this add background image again. Then we're gonna open up this one which is a mall delivery steel. That's the name in Portuguese. Again from the, from the same side that I've talked about before. This is a Brazilian a block and they share a lot of this historical stuff. So let's import this thing right here. I see it's a little bit smallest go again 200. And as you can see, the pattern is pretty much the same except for this skirt down here. We don't have as many cuts up here. This is gonna be a relatively fast one, but I do want to talk about the fabric patterns that we're gonna be seeing later on. So let's start by doing this thing here real quick. Now you can see here again, very, very important to notice. Let me, let me show you the imagery because here it's a little bit weird that we have some weird cuts. Like we have this pattern right here, but then we have this guy right here. The reason why we have the Scott is because we're actually creating two dots right about there. You can see them right here, the line, they held the leafs there don't really match up because we have this line going across this element right here. That's the dart. It gets like paste it here and then sewn onto here. So there's gonna be a couple of cuts and stuff that we're going to have to do. We of course have this strap on the top side that we're also going to take a look into. Even though we have that cut there, it's telling us that this thing is going to be separated. I'm actually going to be doing the whole thing as a single object. So let's start right there. Control. So two points, click OK. Remember, the third should be just like a normal point all the way down. I'm not gonna do the skirt yet. She's going to go here. Up there. A little bit of a curved the dark right there. Just Dr. Valadez ones before. Just keep that in mind. This is the arm strap. Then we pretty much go there. That's the There'll be the general shape at first. I'm gonna go here, I'm going to add a curve point right there, right-click. And you can see that this is actually like a dart. So I'm going to add a uniform split. Then I'm going to right-click. Sorry. Let's go transform. Right-click. And I'm going to add a Dart. Going to move this dark point like here, about there. It seems to me like it's about there. Now. We're going to cut this line. So we're gonna go pattern internal polygon line from here to the side. Just hit enter. Now we're going to show this two things together, since it's already sewing them together. And you can see that here we have another dark, like horizontal dark. Or at least it's going to appear like one. I'm going to leave it like this for now, but then we're probably going to be changing very, very soon. There's another dark right here on the center, which is on the bus. But I'm gonna skip this one because as you saw with the last video, it really doesn't matter where we played with art if we follow the pattern because we're gonna be changing it later on for the main shape right over here, you can see that this is the trace that's coming pretty much from the front. We really don't need to do this because it's gonna be like a strap list dress. Well, it's not the straps, but it's just gonna have strep. We actually need to start down here. So I'm going to go to my polygon again. Here I do want a little bit of curvature. There. They're curb thoughts as well. Were there. Let's go to about there. And then a straight down there. They're straight up. There we go. There's going to be the back piece. So now we have the basic patterns. And again, remember patterns are just the guidelines so we can do and change them quite a bit. Let's mirror this thing. Let's mirror this thing as well. Let's do a symmetric pattern with showing symmetric better with sewing again. There we go. And we're going to solve them together. Of course. From here to here, from here to here. Now, on the sides, we can't sew them the segments because we might not have the same segments or have we do have the same segments, that distance might not be exactly the same. So I'm actually going to be using a free sewing option. Actually another they think about this. Let's just free sewing. I'm gonna go at least to that, to have the 0.5 of the dart. I'm going to go here to the free soloing. Right here. We're going to go there all the way to the middle section. And here, although to the middle section should be fairly similar. But if it's not, don't worry, we're gonna be modifying it a little bit this way. There we go. Now let's move those things around. Let's of course use our arrangement points. This one goes on the back. This one goes on the front. Cool. So technically we should be able to simulate this. And as you can see, yes, it's not going exactly where we want it, but that's fine. We're getting the basic shapes of the element right here. Now, as you can see, we actually don't need a lot of this thing is like this upper things right here. We don't need them, we just need them to cover the bus line. And then we're going to create this strap. So even though we do have the patterns, we can, What's the word? We can't actually ignore the patterns for now and just focus on creating something that looks good. I'm going to go here internal polygon line and we're gonna go from here to the center. There we go. We're going to select the pattern lines, that one and that weren't right-click and codon. And then this pattern is right here. We're going to delete same for this one. That way this is going to look more like a strap, less stress. Now I'm going to use again my free sewing tool to show this other half of the dart. You can see that the distance is not the same. That's fine. We're going a little bit over the distance. What? We miss the, sorry, from here to here, there we go. Now we have a top. This is pretty much the top that we're, that we're going for. And now here's where we start working with the darts and with the general flow of the thing, I'm definitely going to just stretch this thing down a little bit so it's a little bit more form fitting. And due to the amount of cloud that we have, it actually looks pretty, pretty good. It looks really close to the final thing that we want, that we want to create. So now what I need to do is I need to create the straps. And if you remember, we already have this points right here, which is kind of like the distance that we are going to have here on the side straps. So I'm going to go here to my points and I don't know the exact measurement of the stress, but we can add a point. Let's against like the pattern. So this line right here, Right-click split. Let's select the specific length, I think 2020 millimeters, which will be now 20 millimeters. It's a little bit probably like 50 millimeters. Yeah, 32 memory seems a little bit closer to what I'm going for. I'm going to have 50 millimeters on this side. And then of course, first we need to find this section right here. Or we can just go from, yeah, we'd find this section right here, that's 64.3. So I'm gonna go here, I'm going to split this. Well, let's do split by length. Let's do 64.3. Hit, Okay, and then select this one split. That's gonna be a split by length, and it's going to be 50 millimeters. There we go. So now this area right here and this area right here are the same. It's now a matter of just creating a straight strap. We're gonna go here to the rectangle tool click. It's going to be 50 millimeters long. How long this is supposed to be? Let's start with 200. And let's see how that looks. And down, if we need to adjust to the world, we'll adjust them. Of course. We are going to go to the pattern Control C Control R to mirror this thing to the other side, that's gonna be the other strep. And it's just a matter of making sure that this are symmetric pattern with sewing as well. We go into segments showing the segment should be fairly normal. No big deal over there. Now let's position this. I'm going to look at the pattern piece, grab this one, Going to the arrangement points, and hopefully are luckily we do have an arrangement point right there. Now here I can see that this element is twisted. You can see that this line is twisted. And I could also see that this is going a little bit too close to where I would like to go. First of all, we can just go into Edit sewing so that, that's showing right there, which is this one, right-click and say it reverse sewing. And that's going to show it properly. But as you can see, it's getting going way, way too close to where I wanted to go. So I'm going to go into the sewing. I'm just going to move it to the side. And even though we're not going to the points anymore, it doesn't really matter because now we're going to the place that we want right to the actual height. So you can move sewing surrounds. I don't think if we've done this before, but it can definitely be done. There we go. So I'm gonna start the simulation. Let's control seat a little bit there. I'm not sure why it didn't. Electrons form this one. Let's edit the sewing again. Let's delete it first. I think, I mean, if we already know that the points are not where they're supposed to be. Another option is just to move the points around. When we use the symmetric pattern, things go, things are going to work a little bit better. There we go. Now we segment. So again, we can go from there. We can also segment. So on this side. From there to there, that's a little bit better. We go. What the **** is going on the other side? Another thing I'm definitely noticing is that this thinks are way, way too small. So let's grab these two guys. Watch them up a little bit to give them a little bit more height. I'm not sure where this is not doing the proper segment, but just let's do it manually. Segments sewing from this guy. In this case it will be two. This guy would just scan, select the sewing, reversed sewing. There we go. Now we've got the stretch that they're a little bit, it's still a little bit stress. Let's push them up so that they match what we're going for on our concept. There we go. And we've talked about this before, like this pieces of clothing, they don't have as much triangles to properly simulate. It is not a bad idea to select them both and then give them my love of more particle distance. That's not going to really impact our simulation properties. And I wish you'd give a little bit of a better effect. Now, I still think there might be a little bit too stretched out there holding the dress nicely though. So that's a, that's a good thing. On the pattern itself, like on the inside here I can see that the cut is like this. It's not going down. So we definitely need to modify a little bit of this point so that we have like a nicer, like a round effect. And that of course it's going to be happening on this point is right here. So what I can do is I can again go into the section, right-click split. Let's do a uniform split. This point, of course, if we move it forward and we convert this into a curve trigger point, we simulate, we can change the curvature here. I like this. That's gonna give us a more of a straight look. Nice, right? It's all about knowing where to place your tangent center curves to make sure everything looks as nice as possible. Now, here I can start seeing a little bit more fabric than I would like. And here's where the darts are gonna come into play. So let's go into our internal shapes. Let's go for the dart. And we're really know that they're gonna be like right around there. That actually lines up really nicely. Of course, we need to solve them together. Segments, sewing. Those do not line up nicely with the apex of the bust. And as you can see, that's gonna give me a really nice form fitting effect on the character. You can see I have a lot of excess cloth on the back as well. So let's add a dart. The boat, they're probably a little bit lower. There we go. We saw in the dark. We see me lay them. Let's see how this looks really weird. It's not doing the sewing on both sides. It's supposed to be symmetrical, but, you know, there we go. Now, the dress actually has a cut, a cut line right around where that were the darts n right beneath the bust. And that cut line is, has a nice little belt that's again giving us a super nice form. Overall. It's right around here, right around the darts. So it's not that half the point of the Darwin was quite close. And the, I would like to add that. So there's two ways to add the weekend at them as a, as an internal line that will be 11 way to do it. Or we can add in just a second ONE piece. I think right now, an internal line will be better. I'm gonna go here, internal rectangle, sorry, internal line, polygon line. Let's go from here to hear. That seems to be right. And then from here to here, we're just going to continue the line to the border. There we go. Now that's the that's a nice internal line. Then we need to cross this. The other side should be matching. Let's turn on internal lines. Not matching. The easiest way to match this. One of the easiest way because we are showing this, is to try and find the distance. If I were to grab, let's grab the free sewing tool. Distance to the first. It's 288.7. We can just grab the second. That's 202. From here. I'm going to split. We have 202, that means we need 86. We're going to reverse this. That's my point. Hit. Okay? And I know that's the point for now. We can delete that point later on. I'm just using it as a reference to a 188.7. That's I would say close enough. We can move a little bit too low or too high things a little bit too high. Let's try to get as close as possible. That's too low. It's just a matter of a millimeter or something. There we go. That's fairly, fairly close. Then I would say it's something like that. A little bit more, little bit less. There we go. That's again, as close as possible as we can get it. Without going to over complex, we could have done this Scott beforehand before the doors and everything that could have made it a little bit easier. There we go. I mean, we can limit just like that, just like a simple band. But I think I actually want to move this lines down a little bit more because on my, on my character and the reference, you can see it's a little bit wider and my intern out a little bit like smooth or short. Let's go to Edit, Transform point segment. We're going to grab all of them. We're just going to bring them down a little bit more. There we go. Now, the problem is of course that they no longer match the edges, right? So very important to go here, extend trim and that point to pattern, outline for extremity tremor, that point to internal line. So I'm going to work better. Know if that doesn't work, do not worry. There's a very easy way to make it work. Those actually did work pretty nicely. I didn't move them weird. I was gonna say you them surprise that they've worked with no, we didn't move them. So let's just move this down. More. There we go. Now, again, just grabbed the line. It should allow. This thing right here should be working perfectly fine, but it's not working. Again, do not worry. Easiest way to solve this just right-click, say at 0.2 intersection, as you can see, we're gonna get that. Now we can select the section and just delete it. We can even select that point and just delete it against the line at 0.2.2 intersection. And note that segment, it should be able to delete. Why is it not letting me delete it? I don't think it's gonna make that much of a problem, but let me delete it. It's really weird. Let's bring this point in. So another option, just move the point, move a point there, and just draw a new line. Usually the one that I showed you before, the intersection thing works just as fine. But for some reason here it's not, it's not really working. Just manually. Move this pointer, that point which is leapt. Actually, no, we can't because it's going to create something weird. The point of intersection. There we go. Let's try and cut the whole thing. Maybe that will work. I'm going to grab this guy's right-click and we're going to cut and sew. Nope, let's try 1 first codon. So there we go. This one codon, so that's nice. This one. And this one codon. So there we go. That won't work. Same thing here. Let's call them cards. And so both of this, there we go. Perfect. Now, if we simulate, everything should be working. It's not. Why? Because at some point it looks like we lost the connection on this side, on the other side on the sowing lines. So let's just go back to free sewing. And it's this side right here, goes with this red here. And then this goes there, this goes there. This goes there. This goes there. There we go. It seems like now it's working. Again. The reason why we had to do that is because we wanted to have that nice like Band song In-between the rest of the elements. Let's add a new material again, very similar to how we did with the last address. Let's add a black material. Hit, Okay? And that pattern right there, gonna be on that specific line. Technically, technically this would be a complete ban. We wouldn't be seeing this thing. Like we're seeing it right now where it's like divided the pleats. And if we want to do that, we can. It's just going to take a little bit longer, but I want to show you how to do it so that we have all of the information. It's only a matter of grabbing the belt. The belt pieces, bring them up. Let's remove the, the editing, the symmetric patterns. So removal linked editing on all of them. Moves. Everything. There we go. Now we're gonna go to the sections. We're going to start merging them. Now, one thing that you're gonna know this and this is very interesting. We're gonna be talking about this very shortly, is that we're creating an arc. You see that this is pretty much like a curved pattern, like a curved arc. And the reason why this is interesting is because if we were to have a straight line due to the difference in the internal and external shape. It wouldn't look perfectly straight here on the character. Sometimes you're going to have this or things where if you want to have like a straight of figure on the 3D model, the pattern should be, should be curved like a cone. It's very against very, very, very common. One thing that I can do and I want to do it. I want to stiffen this, this pattern. So again, just select the pattern. I'm going to right-click and say a hardened, strengthen, sorry. And that way when we simulate that pattern is going to be a little bit stiffer. There we go. Now our skirt is looking good. We have two darts. We did here was pretty much created two different darts. One dot S on the upper side and another dot is here again just for this sort of form fitting effect that we want to go for. So yeah, that's pretty much it for that for the main area. Now, let's very quickly jump onto, or actually, I'm going to start to be the right here guys. Because the next part of this is gonna take a little while, which has a skirt. And I went to explain to you why we're gonna do this sort of thing so that we understand how this, this thing is going to unfold. So I'm gonna stop it right here. And then the next one we're going to do the skirt. Hang on tight and I'll see you back in an expedient. 18. Date Dress Skirt: Hey guys, welcome back to the next part of our series today we're gonna continue with that date dress and we're gonna do the skirt. I went to stop the video at this point in the last one because now we'd have to talk exactly about the thing that I just mentioned. When you have a perfectly straight piece of fabric and use so two places of it together, we generate a tube which is fine. But if we want to flare this tube out, we can't just a grab this thing like the like the bottom part like when we've done this before. But you can't just do that. Because when you, when you saw this two things together, now, what's going to happen is that you're gonna have a sort of an angle. It's going to be lower on one part and higher on the other part. And if you want the skirt to look completely straight or any sort of skirt to look straight, we need to follow this pattern. So the intersection here should match the intersection that we have here on our pattern. Here's what I'm gonna do. I'm gonna select my pattern on this area right here. You can see it's a 158.86. And I'll select both sides because it's like a half a half square root. Both sides and both of them give me 299.9. I'm going to select a rectangle and I'm going to create a rectangle that's 289.9. How low is probably gonna be like two hundredths, not super, super big. And we're gonna have this perfect. Now in order for us to properly Create, Let's bring this fabric back here in order for us to properly create this cone. Because I know that this length right here is already matching the length that we have here and here. When I make this sort of like skirt shape, but I don't want to modify the top part. Here's where we're gonna be using one tool that's really interesting, which is called slash and the spread. There's a nicer tool in 3D, which is the other software that the guys that make more blues have. But unfortunately we don't have it here yet. I'm hoping that they will get it as like very soon. This lesson is spread works very easily. You just click on an object, click them, click the direction you want to rotate, and then, and then just rotate. As you can see, we keep the same distance up here, but we add a little bit of a curvature down here, which is gonna give us the skirt effect. Now of course, to make this thing look a lot nicer, it will be cool if we could divide this into actual points. So I'm gonna go two segments. First, we're gonna split, uniform split. Let's do six divisions. So it's 123456. That's the same blocks that we have there. The cool thing about the, the slashes spread is that it's kind of like the dots. We've talked about this as kind of like a reverse dark because we're adding volume in-between the elements and that's gonna give us a little bit more, it's going to give us more ruffles, but it's not gonna be the ruffles that we normally do when they, a piece of fabric is bigger. These are going to look a little bit nicer. I'm going to go here completely down, click to the side, and just rotate out a little bit like about there. I'm going to do the same thing here. Click down, click to the right, and push it out. I am going to now do the same thing over here. Click down, click to the right, to the left in this case, or I think this is right. The other one was left. Do that. Click the next one, click this side and go out. That's it. We have created this sort of like cylindrical shape. Now, if you want, you can clean up the curvature down here, but we did not move the curvature up here. This is very important. If we again check this pattern right here, you're gonna see that if we add all of this up is still 299.9, which is super, super important because we want to keep it super straight when it connects to the upper part of our first Kurt. Now here I can definitely see that the skirt goes way, way down like the ruffles are this kind of thanks to start a little bit lower. So I'm gonna go first to this patterns. Let's move them down. Probably a lower more. I'm gonna have them go all the way below the below the butt. There we go. Now, very nice form fitting on the top. And at this point, at the halfway through the thigh, we're gonna have the actual, what's the word? The actual ruffles here are the skirt. Now super simple, we just need to do, of course, a sewing. This is going to be 1.5 of the skirt. Let me rotate this. You can see this is gonna be like the right side Control C Control are gonna be the left side. We can select both of them right-click. We can do them symmetric partner with sewing. And we can go here on the edit sewing line. We're gonna go from the center out, from the center to the blue point out. And then from the center. From the center in. That's gonna be the first one. It seems to be working fine. Then actually it should be doing both sides at the same time. Now, it's just a matter of positioning this. I actually didn't want to activate stimulation, but it didn't turn out that bath. So let's just help the elements here by pushing them out of the leg. There we go. It's out. There we go. Now it's just a matter, of course, sewing in the front part. And the back part, Mexico, simulate forgotten. So it seems like it didn't. So the back part here, from the site out from the site, out. There we go our nice little skirt AS working as intended and see how nice this effect looks. These are the ruffles that we're going for, but we're not modifying any of the upper element. So it flows very nicely into this sort of like ruffle effect without actually bunching up or are creating any sort of like we pat where pattern on the top. And our character has a nice cute dress. Again, a couple of wrinkles are not bad. I think it is looking good. This right now it looks like a pencil skirt. This is I think that's the proper name. It's when the knees are really like restricted in the movement. I think here you can see that the ruffles thing go a lot lower. So let's move them. So I'm going to parents down. And let's go to the segments here, unless move them down quite a bit. Similarly it again. There we go. That's a lot. It looks okay. Looks a little bit restrictive though. I might be tempted to change the scale on this guys. I think I do want to transform this because I didn't want this to be a super tight likes carry out the bottom. Now the problem here is if we do that though, we do that what's going to happen is the movement is going to be the size of this things is also going to be different, but I think we can manage. I'll show you how we can fix this. Let's double-click here. Let's select the 2.1st. Double-click. Oh my god. Like a sacrament point. Double-click to go into just transform the point. I wanted to double-click the point, the central point there. Let's increase it a little bit. And then do the same. Back. Here we go. So now we measure them. The measurement is 366.7. Of course, if we simulate, it's pulling up here because of the elements here. So we might need to make this things a little bit bigger. And we're going to guestimate this. Again. Let's, Let's take a look right now. It should be 180, whatever we had before. But if we increase the size, of course, this segment is also going to change in size. Nicer 152, which again, it's quite close, just a little bit more. The size here. Let's take again, it's just an estimation and how to troubleshoot this. There we go throughout and 63, that's pretty much it. When we do this, as you can see, we do get a loan with an upper pinch it right there. But now the skirt has a little bit more room to breathe and moving around with this thing should be a little bit nicer. I'm still a little bit concerned about the the restricted restrictiveness of the moment. One thing we can do to test this out as we can change the posts. So if we go, for instance, to dispose right here, that seems about right. I'm guessing the cloth will be stretching a little bit here and there. Yeah. That looks quite nice. I'm going to stop right here, guys, I want to keep the textures as a set of friends part just to make sure that we have all of the topics are covered independently in case you want to go back and check them later on. In the next video, we're gonna be taking a look at how to add this or like floral pattern to the whole thing. Hang on tight and I'll see you back on the next one. Bye bye. 19. Date Dress Texture: Hey guys, welcome back to the next part of our series. Today we're gonna be talking about the texture. We're going to use a pattern into our cloth to make it look a lot nicer. I was able to find a nice pattern for you guys as this flower pattern right here from the Internet. And this was by a user named Drew. Give me just 1 second. Marianne homolog from tc. The asset was free to download only with attribution. So there we go. Now, the only thing that we need to do is go into the fabric that we're working on, going into the texture and select the pattern that you have there under Chapter 4400, files. Just hit Open, then we have our nice little flower pattern. But you might be wondering, why does it not look good? Okay, Why is it look a little bit weird? Well, the answer is really simple. Even though the patterns here are together and the law of you guys might be coming from other three self-worth. And you might say, well, the UBI should be just like perfect here. Why is it not working the way this it's not because of the light editing is because it's not merged. So it thinks that each object, it's its own little UB island if you wish. So it's applying the pattern to each object the way it thinks it's going to work. The only thing we need to do here is just go into segments, section and starts showing certain lines. So for instance, this line right here, I am just going to select both of them, right-click and say merge. And as you can see, the UBI gets corrected and we have this, we can't avoid that on the torch. Of course, that arts have to be there and that's usually normal to find that sort of stuff. So don't worry too much about those. But for instance, this one and this one right here, we are again right-click and we are merch. As you can see, the fabric looks a lot, a lot nicer. We are going to have a couple of seams. I mean, we can, in this case, uh, we could, so the whole back of the dress and if we want the backside to be the one that has the CVS, that's fine. You could also just have the same undecided. It depends on the kind of look you're going for in this reference. I can't really tell where this is, but usually, usually since this is a skirt, we're going to find the, the edge or the line at one of the ants. Okay, so I think I'm just going to, I think I'm going to show this two together. Let's go into segment mode. Grab that one and that one, merge them as well. Then grab this segment, this segment, this segment, and this segment, and merge them as well. Let's just like we can't merge them. Let's try this 1 first. Overlaps. No, there's no overlap. Am I selecting two different? Okay, let's select this one. Go. This one, this one. Let's merch. That's really weird. There shouldn't be any overlap. Okay, let's give it like that for now. On the skirt down here as well. We're going to grab this one. This one, and we're going to emerge. It might be the light linking though, or something like that. Let's select both of them. Right-click. I'm going to remove the right-click. No, it doesn't have any livelihood. That's fine. Let's go up here. Let's grab it. This one right here. Merch. There we go. So now the back part has a nice little pattern. The front part has a nice little pattern. The straps have a nice little pattern. The main dress has a nice little pattern, and then the little skirt down here has a nice little pattern. We don't merge this once. You can actually see here how the pattern breaks. So we don't merge those ones. I think I'm going to leave this as a front and a side because otherwise we're gonna have a seam going down the middle. And that might look really, really, really weird. And I would like this pattern now that we have the pattern properly set up. Now we can go here to this option and we can play around with how big or how small we want this pattern to be. I think I'm gonna go for like a big, big shapes right here. Like I really like this leaf is going across the bus right there. I think it looks quite, quite nice. So yeah, that's pretty much it, guys. That's it for our date dress. She's wearing this very nice dress for a date. She's going to meet the guy or the girl that she fell in love with. And yeah, things are gonna be, things that are gonna be interesting. So lets just grab this pattern right here. I'm going to right-click. I'm going to on solidify and on strengthened. So we have that nice black line right there. My girl, a little bit more like crunchy there, but that's fine. We can just adjust addressed a little bit more. Cool. This is second dress of this chapter is done. The next address is at the party dress. So we're gonna go for this. A very, very nice, very sexy, a red dress with a couple of cuts that we're gonna be able to see through it. We're gonna be talking about how to use this sort of semi-transparent clothing as well. Yeah, that's it, guys. Hang on tight and I'll see you back on the next one. Bye bye. 20. Night Dress: Hey guys, welcome back to the next part of our series. Today we're going to continue with our story. Our girl is now ready to go into a very fancy dinner and she has to take one very nice stress to it. So we're gonna be doing this of very nice like a vestige of the fester as it says right here. And let me tell you guys, it might seem like an easy thing, uh, but it's actually really tricky. It's not difficult per se, but it's really tricky especially because the patterns are not super, super clear. And you might get a little bit confused to all of the overlapping is that we have here. So here's where again, it's a lot better for us, especially for us is through the artists to focus on the forms are rather than on the patterns. Patterns are great if you're gonna do this in the real world. But for the digital world, we can get away with doing this in other ways. So what am I seeing here? Well, it's, it's a really tall neckline that we have right here. As you can see. We have this broad shoulders asleep or easy, very simple pattern. And then we have this flaring out. Now. This one has a double amount of what's the word of cloth like? It's a double section like you have this sort of fancy soft, semi-transparent cloth on top of the basic carbon. It's usually sewn on the same line so we can add that shouldn't be that much of a problem. But the shape right here, the way this dress like generates its curvature. Here in Mexico, we call it the mermaid suits or the mermaid cut. I'm not sure if that's the same name everywhere, which is the cortex Iliana. But the thing that you need to see here, and that's why I included this image for reference for you guys as well. Is that on this side, you're gonna notice that we're gonna have our main shape. And then from the main shape we're gonna get this like wings. It's like a wing. And then on the back side we're also going to have all of this wings to create this very nice looking effect on pretty much all of the backside. This cone that they're drawing right here. This is the cone that they're using to like inserted. This is roughly the shape. I'm not sure if we're gonna be using all of the patterns here, but that's the hint, That's the idea. Pretty much. Again, instead of having to worry about all of the different patterns, we're going to focus on the main shapes first and then we're going to start tailoring all of the other elements. So let's say set this to 250. I think that's roughly a good amount. One of the things that's important for this image is if you place this here on her shoulders, as you can see, as you can see, a little bit more at length. The shorter is, are, are pretty much there, but we're going to need a little bit more length. So just keep that in mind because the pattern right here, even if we match the pattern, you're gonna see that we're not getting are going all the way down. And then we definitely want to go all the way down on the character on this guy or this address. We're gonna start with the main body right here and we're going to follow the black light, ignore completely nor the blue lines right here. We're going to fold the black line. I'm going to go into the polygon. Start here. Then go here. Up, there we go. Let's start at this again. 123. Let's do one more for this line right here. Actually. Let's go to that point right there. Then we have this nice little curvature here. That's where some of the semitransparent cloth is gonna be. That's a straight point right there. It's gonna be a nice division. Then we just try to follow this form right here. That's nicely as possible. At this point, we can just go straight down. Let's go straight across and all the way down. Perfect. So this is gonna be our front-facing pattern. We of course get a need to change a couple of things. If it's too wide, if it's too short, we're gonna be adjusting all of that. But let's start with our basic preparation here. So we bring this here. As you can see, Iggy quite fits our model is it's really, really close to the effect that we're going for. I think the shoulders definitely way too low like this one. This is the kind of things that the pattern will give us a initial configuration, but it's a lot better when we have the silhouette so that we can start modifying. Again. Sorry if you can hear my dog, he's been going crazy last couple of days. Now. Don't worry about the cut here. I think this curvature, so a little bit weird though. I'm gonna go to the Edit curvature. I'm going to try to straighten this a little bit more. We want this to be really, really form fitting here. I don't really like that. I think I might've been changed the point or just add another point. Like, let's say they're in there. And then of course we need to actually let me grab this points again. I'm going to add the one. That's fine. I mean, we didn't have We do need a little bit of room here because the address tends to be quite intensely around. So I think something like the works. Okay, cool. So we're gonna go with this guy. We're going to use the arrangement points and we're going to get as close as possible to the front set. I think that's a that's a good fit right there. Let's bring it down a little bit just to, again, getting closer to the body, we're going to hit Control C, Control R. Over here. Control C, Control R. There we go. And we're going to of course activate the symmetric pattern with sewing. And we're gonna, so both halves together. Give me just 1 second. Now the only thing we need to do is we're going to grab both patterns. This part right here, and we need to bring it all the way down because usually this dresses the really, really, really close to the ground. We might need to change this a little bit once this thing actually simulates. But this is a good approach. Now, let's trace the back of the character. Again, I'm going to follow the black lines, ignore the blue lines for now. I think some of this blue lines are meant to be like the main pattern that you've got and then do a continuum like trimming from there. But the black lines are held bit closer to what we're looking for. The culture there, there, there, there, there and then straight, straight all the way down. You saw there that the line is not perfectly straight. So let's go to our Transform point segments. Select boats points, right-click, align to point up, y-axis. There we go. So it should be fairly, a fairly nice. We are going to of course, grabbed a pattern. Let's move it to the side over here. You can see we're trying to match the same high points there. If we see this, you can imagine this is like the, like we're seeing in on the back of the character. You can see that this points are again, not exactly where we would like. Having this right here is really, really helpful because I can just grab this point, for instance and say, you know what? The shoulder has to be a little bit wider. So let's go right about there. This one, once fine with high, probably a bit lower though, something like that. This one has to be like over there. And then the curvature I am not that worried about. But I know that this thing is definitely going to go lower. So first let's select both points. Right-click align to x axis. And we're going to move it so they match the same length on the back again, I'm not really worried about this curve because we can modify it later on and help with the general fit. But yeah, that's looking a lot nicer. Let's bring it here. Control C, Control R to mirror this, click on one-click on the other, right-click. And we're going to of course, symmetric pattern which are sorry, apply symmetric pattern or just activity the symmetry on those things. It's good to them. I would say I'm going to place them there and then manually just like bring them down. There we go. Now, one of the things that I notice about this stress is that we have a very, very slim like connection on the shoulders, just a very slim, which is this one right here. That's why we needed a little bit more room on this side. Actually, I might need to change that. Yeah, we're definitely going to have to grab that point. Which is more like probably about there, just a little bit wider so that we have enough, enough connection points. Otherwise the Cloud is not going to work as a nice. Now we're of course going to go to free sewing from the Out, Out and then sorry, this case the other way around. So from the outside towards the inside. And the same thing over here. The other one, of course. Let's just do this. There we go. Then we simulate. You can see that this thing goes well together. Now we can, of course use our segment tool to show both at the back pieces. There we go. So the beginning of our elements is as working. Interestingly, this section right here, this is super important. That's why I added the point right here where the little like insertions begin, because that's point is gonna be like super critical to the whole thing. So I'm gonna go here to our free sewing and we're gonna go from here down. We're gonna go from here down. Now when we see related, as you can see, we're going to be close into addressing one beautiful dress, beautiful do them for a super form fitting. Look at that amazingly looking. It looks pretty, pretty cool. We're not gonna need any darts, bacteria, like it's perfect because we already have a dark. This is a dark. Remember we've talked about this, let's say princes darts. So we are mostly finding the things a little bit because as you can see here, it's asking us to add a couple of dots in the front and stuff. You can see that there's a dark there on the breast. I didn't think we needed thanks to the cuts that we just added. I don't think we're gonna need that dark. Now, if you want to add it though, feel free to do it, especially if you want to have a nice little seam line. But we can add that at the very end once we add this sort of like paneling Honda, the front. Now the one thing I don't know was actually looks quite nice. It was going to say is that this neck was not looking great, but it does look nice. It does look nice. So let's do the sleep right now real quick. A very easy way to do the sleep, just to start on the middle. Go out, go up, go up. One more, click. Go down. Oh, there we go. So we close this, select the pattern. And I'm just going to select one, the intersection. We've done this before, we unfold. If you want this to be super round, just converts corporate. And there we go. Now, this is important. If I were to select this thing, this pattern won't feed my arm. It's too small, too small. I'm gonna play this to this side. Actually going to grab the Paxos can only be one more space. And we need to change the length of the arm hole, the umbrella we have right now. I do think it's a little bit too tight so she wouldn't be able to move her arms dot much. I'm going to go into the transform patterns here. I'm going to move this thing a little bit down. Same for this one. Just gonna give you a little bit more room there on the arm. There we go. That's a little bit more, more comfortable. You don't want this thing to be like cutting into the character. So that's a lot nicer. Let's check that length. So if we take that one and that one, you're going to see that we have a 338.809. And if we check this one, it's 245.6. So a very quick way to do this is just change the length. So it just changed the length. I'm going to hit sit 238.8. We're gonna do a both. And as you can see, this is going to expand the curvature both ways. Now it might not be the perfect curvature, as you can see, when I need to edit the curvature curve point. We might need to use morphing Sarah, or we can use another technique that I really like, which is just scale this thing we can just do on the center. Remember, you just double-click. We expand. And if we take a look at the elements here to 90, that's still too low. Let's do a selection again. Broadly about there. Let's check 348. Okay, that's getting closer. We want 388. And again, this is one of the things you'll see the pattern here. Any might look, that's what you want. But it might not be, right. You might need a shorter or bigger distance. So let's just double-check here. 3338, sorry, 338348 were already Hello bit too much. So let's bring this down a little bit. A little bit more, if I'm not mistaken. 330. Okay. A little, little bit more. On the upper side. Here, I might be tempted to just do the change length now that we were a little closer. So 338, Let's do direction both. Let's hit. Okay. There we go. Now this is 3.638. And again, if we were to grab these two guys, we have 338.87. Yeah. That's pretty much it. Like No no need to worry about that. I'm going to select this guy Control C, Control R to bring this to the other side. Both of them right-click and symmetric pattern with sewing. I always make that up. Or Ms. Meza lab, I'm going to say apply linked editing. There we go. Now, we're just going to go here free sewing. We're gonna go from the bottom up, from the bottom up, and then from the center, down, from the center down. And as you can see on this pattern over here, this one should be fine. Now to of course make this thing and our lives a lot easier. We select this guy, we turn onto the arrangement points and we bring them to their respective sleeps. It's not when we simulate. This loops are falling in place. Of course, we're missing one very, very important sewing line, which is the segment from here to here. Now. I'll see how nice that fits. If we were to follow what we have on the pattern, this wouldn't be feeling as nicely as well we have right here. Why? Because the model is never going to be the same as apparent. That's why it's very important too. Use the patterns, but understand that none of the patterns are gonna be like this. Now there's some little bit of a point there that I don't like. It looks a little bit weird. I'm curious about why that's happening. It might be because this is curved and this is not. But there's one piece of fabric. One of the two pieces of fabric is a little bit bigger than it should. I'm guessing in my arm. I'm gonna, I'm gonna, I'm just gonna make it smile slightly smaller. Let's see if that helps. Not really. It's not geometry. Let's go here. It might be this element right here. One thing we can try is we can try to add a point here, this section. And then let's move that point. It's kinda like a small little dark. They're going to reduce some of the cloth, reduce some of the tension. Should pinch this thing back a little bit. I don't know if it's the particle distance. I don't think it's the particle distance. You know what? I think it's this thing that's like pointing out. Either that or it could also be that the point here, the curvature, It's a little bit too high. So let's change the curvature. Now. See it's the, it's the, it's the union on the top. We'll fix it later. We'll fix it later. But that's because this is just the general blockage so far, right? So the blocking is looking good. Now on the back here you can see that we do have a little bit of extra extra clock now. I'm not too worried about that just yet, so I'll wait and see if we really need to remove some of that with a couple of dots. But I don't think so. I don't think we're going to need it to do that sort of like changes. Now comes the big part, now comes one of the important parts. And I'm gonna do the first section in this video just to show you what the next part or idea is gonna be. And then we're gonna be building the back section of the tail. First, Let's say real quick, always forget, don't forget to save. Let's call this night. Dressing Chapter 40 over all of this are gonna be available for you if of course they're on your project files so you can check them out at anytime. Now, I'm going to load the other image. I'm going to load this image right here, which is the Cortes Iliana image. Make this quite big. Let's move it to the side because as you can see, for us to be able to create a nice flow in pattern here on the front. We're gonna need this shape right here. So from this intersection point, I'm gonna grab this piece right here and move it to the side so that we can work a little bit better. Actually, the other one, depending on where we want the tail to start, which in this case, based on the other reference, it's about here. Like a lipid below the below the a little bit above the knee, I would say is where we start getting the flares. I'm going to add a point right about there. Probably a little bit higher, right about there. I know that this line right here, that's the segment, the main segment that I want to duplicate. And I need to create this sort of like cone-shaped. Okay, so here's what I'm gonna do it. I'm going to select the patterns like this guy right-click and we're going to offset a parent outline. We're going to extend this. Doesn't really matter how much, but I'm gonna go a little bit higher, like let's say 500th. There we go. I'm gonna hit Okay. Now, I'm not gonna, I'm not gonna I don't want to what's the word? I actually don't want to create a new thing. I'm going to create internal line. There we go and hit Offset. Now I'm going to select deadline, right-click cut and soap. We keep our original element, but now we have this big pattern right here, which of course is being duplicated. Now, following this guy right here, I'm gonna try to shape this element so it looks closer to that thing. I'm going to go onto the transform point segments. Couldn't even align it there. Let's move this thing down. Then this point we're going to convert to a curved point. There we go. Then we need to change the curvature. So let's go to Edit curved points. You can see we have a lot of the crypto is there. We don't need all of them, so let's start cleaning them up. I'm just going to start selecting them. And to be honest, we only need one. So we can delete all of these points and just leave a 1 right there. There we go. Now we're following the exact same flow of the skirt while adding all of this information over here. Now we're gonna grab this guy, bring it back here. The only thing we need to do is sew them together. Segments, sewing. It's actually already sewn together. So now when we simulate, look at this drapes super, super nicely and we're starting to get this sort of like a mermaid fuel. Now as you might imagine, this thing is going to be flowing back like this. And it's gonna be combined with all of the remaining tail. That's gonna give us this very nice dress here on the back. Again, as I mentioned in my Zoom links and easy one, but it is quite a tricky, It's tricky. It's not as straightforward as other dresses because there's a lot of special like lines and curves that we need to follow. So make sure to get to this point, guys, I'm going to stop the video right here. And then the next one that we're gonna explore, the back part of the tail. So hang on tight and I'll see you back on the next one. Bye bye. 21. Night Dress Textures: Hey guys, welcome back to the next part of our series. Then we're going to continue with the details for our nitrous. So this is where we are right now and it's looking quite nice. We saw how to, how to append these fronts skirt right here, which is looking quite, quite nice, giving us this very flowy look. And that's the, that's the journal would like the mermaid caught. It usually holds the form of the character really, really closely. And then it flares out very nicely into, into a lot of it'll all the folds and it's not, they're not pleats, but they look very, very nice. Now, here's the interesting part. As you can see, we have a whole gap here and that's a no, no. We shouldn't have that gap. This are uncomfortable to walk in, at least that's what my wife has mentioned when there were wars, one of this and the, as you can see, the cut pretty much starts right around there like at the point where we have this thing appended, that's where it's supposed to be starting. So we need to sue this thing all the way back to this thing. I am going to give her a little bit more room because again, as I've mentioned, they do tend to be a little bit uncomfortable. So I'm gonna grab this point right here. Just to the detention is not as bad. I'm gonna push this out just a little bit. Remember, we always fit the, the garment to the character, not the other way around. Now, I'm going to grab my free sewing tool. And we're gonna, so from this point to that point, which is supposed to be the amount we're actually gonna go the other way around because we've sold this segment before. So we're gonna go from there to there. And then this other segment, we're gonna go from there to there and it should match. It should match perfectly. Oh, my God, sorry. My allergies will not somebody either. The spring allergies, they should match perfectly because other siem has match perfectly so far. So you shouldn't have any other element as long as you've kept the distance at the same. Now since we have symmetrical patterns turn on, technically. This should suit you there. Well, I think I made a mistake there. Oh, yeah, Sorry, my bad. I was sewing it from the same place. So let's start down here on the tail and let's go up to that point. And we're gonna go here. Sorry, the other way around again, from here down. And under Taylor, we're gonna go from here down. Now, when we saw this together group, as you can see, we're gonna get this shorter effective shortcut. Again, that's the part that gets a little bit uncomfortable. But as you can see, the form is defending a lot nicer. Now, I do want to add a, just want darts small dark here on the back. I think that would help get this even more. So we're gonna go here and let's just add a small dark rather boat there. Yeah, that should be good. Let's assume late. I will forget about this. I get confused because when you insert a dart and usually does so it for you when this gets you didn't. So there we go. Just a small dark there to again, make sure that the shape is following her really, really nicely. There we go. So as you can see, the now we have a good distance over here. And the next part, the next challenge is we need to create all of the folds on the back. Now, usually this line right here is gonna be a little bit bigger, but we're gonna change that a little bit later. As you can see here, this shape is the back, it's supposed to be the back part of this other pattern which is very similar. Again, remember wake up. And you can see that it's really weird to understand because we have this a weird shape here and then there's an overlap on another weird shape here. What this thing is expecting you to do is expecting you to get to this point which has the point that we're at right now. And from that point onwards, create two divisions and create like a really, really big block. So the way we're gonna do this is we're gonna use a similar technique to what we use on the other one. We're going to go onto the segments. We're going to go onto the second 1. First we need to find the same distance. We want the distance on both sides to be the exact same distance. I'm going to select this, this is right here. That distance, and as you can see, it's 7.6774. So I'm going to go here to the back piece. I'm going to split. I'm going to add by length. I'm gonna say 7.674. And I should set this up to reverse. So this is the lower section that we get and hit OK. So now we have a point. Now we're going to grab that section, offset pattern, outline. Let's go really crazy. Again. Let's go to like a 50 to start. I mean, we can even go 500, that's fine. And hit Okay. One thing before we do that though, again, we do need to create the internal line. Perfect. Now we're actually going to cut this, so I'm not really going to cut. And so we have two different patterns right there. You can see that it's going a little bit crazy over here, but that's fine. We'll reset it and we'll be fine. What I wanna do is I wanted to create the shape. But again, here's where we're going to depart a little bit from the world we're seeing here. And we're gonna go a little bit more when we get here on the software. I know that we need to curb shape again down here. So I'm gonna grab this guy, convert to a curved point. I would like this, this does right here, 829.9, to be the same distance right here. Fortunately for us, we do have the tool to do that which has changed length. I'm gonna say 829.9. I'm gonna change this from start to end so that it extends it forward. That's it. Why do we need the same distance? Because I want to make sure that when we sew things together, this thing gets through the proper place. Because otherwise, we're gonna get crunchy nice and we don't want the questions, we want things to be as nice as possible. Now, this curve is not working, so I'm going to have to move this point back or down and start creating or changing the curvature. So we get this sort of effect usually on the mermaid cut, you have a lot more distance like down here. That's why I mentioned that we're, we're gonna change the length of this piece is right here. Very shortly. As you can see. Now, the only thing we need to do this fixed distributor to have a little bit nicer round recursive. So let's go here to Edit curvature. Let's play around with the curvature here. Just to get a nicer, nicer effect. There we go. Let's give it a go. Let's simulate real quick. We're getting a lot of the crunchy this, why is this? You guys know this, you guys know the answer. We're getting a lot of the current genus, of course, because the place where we're sewing two, which is this place, 774 against 1000 and all that stuff. So I'm gonna grab this two guys and we're just going to move this thing down. And I want to get to this was what? 1269. Again, select this two guys. Just push this down until we get as close as possible to 1269. Here we go. 72 is fine. Now, when we do this, as you can see it, we're gonna get a lot, lot nicer, like a nicer effect right here. Now we're also getting a crunch in the front there, which is a little bit concerning because we shouldn't be getting that crunch. I think I saw the wrong piece, this thing right here. I think I started to a very small section right there. Let's go into Edit sewing. And I don't know why there's a sewing there. We shouldn't have that one. We should let this flow. As you can see, there we go. Now this line right here, that line right here, we're going to talk to this section right here. Now again, we need to make sure that we're sewing things to the proper lines. I'm not sure if I'm going way, way too high on this one. We might be, what might be going a little bit too high. So let's start with our segment first. We're going to go from this segment to this segment. Let us start from here to here. I think I turn off the seams. There we go. The threats. I was playing around with some options here and I think I turn a lot of things off. Everything should've showing though that working and that seems to be working. Let's simulate. Yeah, okay, so it's going to where it's supposed to be going. But as you can see, we have a lot of extra space here that we're not like we didn't consider. And there's a couple of ways to fix that, of course. First, let's see, I'm gonna stimulate a little bit just to see how this thing is behaving. I think we do we control C? The Yeah, I think I think we control C the initial seem. No, we didn't. That's fine. Yes, So maybe we just had the wrong the wrong dimension. What I want to make sure here, this piece right here, should be sewn onto the backlog we're doing here, but we're missing this spot right here. And again, there's a couple of ways in which we can do it. We can even create a separate piece. I think it's this section right here that we're missing. So it's two hundred and seven hundred and sixty seven point one. So let's do it. Let's just do another piece I'm going to go through with the polygon, or sorry, with my rectangle, I'm gonna say 267.1. Hit Okay. The length, we already know the length, the length should be. We check the segments and 129.9. We grabbed this and let's grab this a 129.9, or as close as possible, a couple of decimal points. It's not going to hurt. Now, we, of course, we can leave it like this, just like a rectangular one, but we've been following occurred throughout the whole thing. It will be a really nice idea to do the same thing. I have a little bit of a curve here to add a couple of more folds. I'm gonna go to my slash and spread. Remember this one? And we're going to go straight here. It doesn't matter which side and just give it a little bit of curvature like that. Now, with my free sewing tool, we're going to this line, this line. And with our segments sewing, we're going to show this to this and this to this. Let's make sure that things started looking nice. Let's simulate. Wow, exploded. Let's give it a chance and see if it manages to like solve itself. Sometimes it does, sometimes it doesn't. I think, I think my sewing is wrong. Let's go back. Let's grab this guy. Let's help it a little bit over here. There we go. The upper sewing line is fine. It's the brown one that's wrong. So let's edit the sewing against. So if my calculations are wrong, this guy should go there. Yeah, there we go. This guy should go there. Perfect. Now we assimilate. We get that extra piece of fabricating. There we go. And we're getting this really nice mermaid cut all throughout our character. I love her wedding gowns or wedding dresses also share this sort of approach. It's very, very common. Now I'm just going to Control C, Control R to create a duplicate of this thing. Of course, bring it to a position. And let's very quickly, so with in place, I'm going to do a little bit of clean up here because my patterns are getting a little bit crazy. This is front skirt, this is side skirt like this. So that we can, we can follow the logic. This is front skirt and this is site skirt. Now it should be a lot easier to know that this guy of course, goes here. And this guy should go like here. There we go. That one, I really don't want to move it that I want to keep it on the on the back. Now at least we know that this guys are are part of the front. Let's grab this guy's moving into the site. You how much fabric we need for this kind of addresses. That's why they are so expensive. Because there's a lot of fabric and a lot of work that goes into them. There we go. Okay, Now, of course, if we simulate, you're gonna see this. We're just missing the last free sewing tool. Again here, free sewing. We go from here to here, and from there to there. The last little point that we're, we're also not stretching the address as much. And we get this very nice, sexy V-shape on the bottom part as well. That's it. That's the, that's the, the mermaid caught. Now if the tail is too long or too short or it's not going exactly where you want. This would be the point where we would modify their curvature to make sure it looks as nice as possible. Now, let's bring back the other background image that we had, that the original one there and one. There we go. You can see that we have a couple of things that we need to change. First of all, we have the transparency, the transparency cuts that we have, and of course, the red color and stuff. I do think that my final like insertion point was a little bit too high. Now, remember when we make the we made it a little bit more comfortable for her. I think it was way way too much. I mean, it doesn't look bad, but not for fitting down here as I might want, but that's fine. We're gonna leave it like that for now. Now. We're gonna add a new fabric, is gonna be the bass riff. We need to look for a fabric that actually makes this thing a little bit stiffer because right now they're very silky, very smooth, very flowy. And the cloth is usually not that intense. So for instance, this cotton heavy twill, as you can see, it has a very sharp effect and it's not as wrinkly you can see on the previous, when you hover over the elements, you're gonna see the previous of the clots and that doesn't allow you to see how nice or not they book. So I think I'm going to add this one. Go here. We can grab all of the patterns and hit this little button to apply to all. There we go. This is how it's definitely a little bit and now we have better pillars on the fabric. It looks quite, quite nice. Now for this one, I am going to change the color. Let's go for a dark red. There we go. That's of course going to start looking very, very nice. One thing I'd like to dispose her, but we're gonna wait until the very end to do that. Now for the cuts, very easy, very easy. We're going to go into our internal polygon line. We're gonna go from this border to the armpit. To the armpit. There we go. And on the back we're gonna do the same thing. We're going to go from this point, which is this was the sewing light. Remember, to this point, That's why it's sewing lengths are so important. They allow us to find the points are very, very easy. I think that one's actually a little bit too forward out. I wanted to stop them. Let's go there. There we go. Now for the intersection here, there's a little window on the side that again makes it nicer. We're going to add. A couple of points. And we're going to stop right about there. What's going to make the whole figure look a lot slimmer at any point. Remember, you can go into the, into the points themselves and the modify the points. Just a little bit too much. Let's bring it in a little bit more. There we go. Nicer. Accumulate. There we go. Stop. And we're going to do the same thing over here on the backside and the back pattern. So we start on the the armpit. We go out, out. Let's go there. Now. If you fail, it was not enough fail if you missed. Sorry, that's not the right word. If you miss, don't worry. We can just grab the point again and move it towards supposed to be. No big deal. Now of course we are going to go into the Edit Pattern, select the lives, right-click codon. So right-click column. So go over here, right-click, right-click, cut. And so now the sections are separated. Now we need another element. So I am, I'm actually going to grab this base rather we were using before. And I'm going to ask a slightly brighter red, this one. And we're going to go up all of those patterns. Those will not transparent patterns that we have here. And here. And I'm going to apply it to them. We go, of course this leaves are also going to be applied that base read. What we need to do now is we need to use something called an opacity map for those of you that are completely new to textures and stuff. Let me show you an opacity map in 3D is a black and white map that we use to tell elements were, texture is and where it checks there's not. So for instance, very commonly in trees, leaves and all the stuff, you're gonna have this sort of like a cutout of a leaf. And in the game, you're going to see The only the thing that it's a white. So very important, the white color is what's gonna be seen. That's called the opaque surface and everything else is gonna be transparent. So I made it easy for you guys. And you're gonna find in your source files this thing, which is a black and white they measure called the Alpha. If you select this one and you apply it to the opacity map and hit Okay, Open. This will get what's gonna happen. You're immediately going to get this very nice effect where the flowers are just creating this pattern, tile pattern, as you can see, it's going to repeat, yes, we're gonna have a couple of seams, several here and there. But as you can see, it looks really nice and we're getting a lot closer to our address right here now you can see the scale on the dress is way higher. So let's go to our Texture tool and selecting this piece. I am going to not rotate. It's weird. I think it's trying to go into I thought we could modify it from there. I don't think we can in this part. So let's see here in the Opacity map transformation. There we go. I think if we lower this, or in this case, I think if we increase this, Let's go through like five hundred and five hundred. Okay? We see that the bigger pattern, that's way too much. Let's try a 100th. 100th. There we go. That's a little bit nicer, a little bit closer to the scale that we have here on a reference. And of course, if we assimilate what everything's gonna be moving very, very nicely. Yeah, that's sitting now I do think this opening is a little bit too much. You can see we're seeing a little bit of her, of her bra. We might need to change that a little bit. And the way to change it as of course, to go into the pattern itself, going through the curvature. Just like maybe the curvature smaller. And then go into this curvature and make globe it bigger. And that's going to of course reduce the amount of now we shouldn't see her brought us much. The darts, I think a little bit too low. So let me grab the dots here. Let's go into add the pattern, select the darts. We're going a little bit higher. Let's try that. There we go. Those wrinkles that we're getting there, I kind of like I think they add to the overall shape of the dress. Now we haven't changed the particle distance. We're still working with a very high particle distance, so that's 20. Eventually we're gonna change this down to probably like ten or something to make this thing look even nicer. Now, of course we can add seems on this guys, you know, the drill clone over, under or we can create the external line and add little detail. But I don't want to drag this part of the tutorial as long, so feel free to add more of those details to the character. The one detail that I do want to add are discouraged. Remember on the concept here, she has another layer of like fluffy, semi-transparent skirts. So I'm gonna grab this color, I'm going to copy it. I'm going to call this alpha. This one's gonna be called base read details. Sorry, not base red. Skirt. There we go. So this one, I'm going to click this little garbage icon to get rid of the, what's the word of the the Alpha. And we're going to reduce the opacity to about 50%. So it's gonna look semi-transparent. And that's where we would normally do with, normally do this in any sort of like rendering engine to make things look a little bit more, see-through, more transparent. Now, of course, we need to grab the patterns. All of this parents. I do want them to be sown the positions that they worked, but I want them to be over, right? So I'm gonna hit right-click. I'm going to say Clone layer cone over. Let's bring them up here. Here's where the little bit of the tricky part is gonna come. We know that if we just lived this here, this things are sewn together to the lower layer right there. They're sewn together to lower layer and that's, that's a problem. So I'm actually going to go into the edit sewing tool, grab all of this points and delete them like this. Patterns are now flew free flowing. The first thing we want to do is I want to connect the patterns. So I'm going to go to my segment sewing and we're going to connect this pattern to this pattern, this pattern to this pattern. We're doing this, right? Yes. There we go. It's better to this pattern. Then we're going to connect the back patterns. As you can see, the back patterns usually would be connected to this inner pattern, but in this case we're gonna connect them to themselves like that. Now, we're going to connect this pattern here. This pattern here. If my calculation is right, everything should be following the proper position. You can move them around. I'm actually gonna move them around a little bit. Because I really wanted to make sure that things are sewing to the place that there should be sewing. Otherwise, this is not going to work as intended. That's not the one. That one's still has some switching from the from the past version. Those institutes that you're seeing there, those are no-no, we need to delete those stitching. I'm gonna go here to Edit, sorry. Let's see if we can select that sewing repair. Which one is this one? So let's just delete it. There we go. So they should not be sewn to anything bought themselves. It's just the final skirts, so it seems to be working. Now, I am going to select all of the patterns and add this Red Scare, which is going to be semi-transparent. As you can see, we're gonna be able to kind of see through it. And here's where the tricky part is gonna come. We need to sue or so some of them back into, into their old like elements right here, which we still have. So first I think we might benefit from linking them. Let me see. Symmetric pattern with sewing. Same metric parent was sewing and symmetric pattern with sewing. There we go. Now, what happened there? Since like I separated that piece or something. Now what we're gonna do is we're going to use again are free sewing tool and we're going to start sewing a little bit, not all over the frames here on the front lines. I'm just going to say probably like two centimeters, something like that. That is gonna be sewn to that piece. Now this thing should we saw him there? It seems like this and do it. That's fine. Let's do it in manually. Shouldn't change the thing. So to nine tonight. Now the next ones, we're gonna sue completely. So from here to here, from here to here. And then this one, this one, we're just going to show a little bit of this part from here. Now actually that one, yeah, we do need to show it a little bit. So let's go from there again. In this case, I've got a little bit longer, let's say three seventy four, seventy seventh. That's fine. There we go. Three 72. There we go. Let's say real quick before anything bad happens because there's gonna be a lot of simulation right now. Could we get a little bit tricky? But technically, if we simulate now, we should have a layer of like a semi-transparent layer of cloth on top of everything else. Now, as we've mentioned before, the rendering in this system are in this elements not as good. So sounds like we're getting some. Problems down the inner cloth. But yeah, that will be the way to do it. There'll be the way to add another layer of filament here. I'm gonna stop, let me control C. I'm not sure what happened here. But the easiest way to fix this is just like grab them and move them out. Kind of like telling, marvelous, hey, try it again. Try again. Get to know you get enough time to simulate. I'm not sure if we're getting extra simulation on something. I think something having like I'm really concerned about this government right here. Let's do this. I'm going to grab this guy's first, going to set them, they're there to one so they don't interfere. I'm going to freeze them. Good thing that I can show you how to troubleshoot as well, because you're gonna find a lot of these things happening. Let's, let's similarly just a skirt. Something, something changed there on my on this skirt. So let's control seat. This guy right here is going crazy. I'm not sure why though. Best thing we can do is just right-click, say, remodeling, editing. We can isolate this for just a second. Grab everything else. Everything else. I'm gonna, I'm gonna freeze. Select this guy and just reset it to the pattern. Just bring it back. Take a look at this teacher's. Make sure that they look nice. So tops teaching goes properly. Vax teaching goes properly. Yeah, the stitching. Don't look good. Let's select all of this upper guys. Control K to unfreeze. Let's simulate. That's really weird. I didn't have this mistake. I know that I normally like to record everything I said. I'm going to stop real quick. Let me solve this before we finish this chapter and I'll tell you what happened. I was able to solve with it was just the live linking that was selected from the Lear clone over that we did. So you want to eliminate that one as well? It's just, we're just copying the patterns in this case. You could just copy and paste them. Maybe that would have been a better idea, but that's a similar awake. Now I rebuild the elements here. I am going to grab all of these guys Control K Again. I'm gonna grab this guy right here. I'm gonna say reset 3D arrangement. No. I mean, that's why we can just leave them like that because I'm gonna select all of these guys. They're already sewn between each other. Let's use the lyric to, uh, to, to make sure they are pushed out. And I'm gonna move them out, get them really out of the address because they're having a couple of collisions there that I don't like. Sometimes it's just better to since it's a loose fabric, It's a little bit easier. Now, let's do the free sewing ago. Very quick, free sewing. From here, we're gonna go like 234 to 23, that's fine. One then. Similar one on this side. There we go. This one should go exactly the same. This one should go exactly the same. This one. Remember we only grab the outer edge again. A little bit longer. Let's do like almost 400th, 100th. There we go. That's should sue it as you can see to the sides of the element. And now we're going to have this very nice extra fabric flowing around. Now technically we could, or we should be able to simulate here even though it's frozen. Yeah, there we go. Now the fabric is falling nicely on top of the other elements. Let's stop the simulation. Let's grab everything else again, Control K to unfreeze. And finally, we can let this rest. We go. Now there's no overlap, There's no bad elements or anything. Now that the layers are appropriately done, we can again select this upper patterns changed later back to 0, that one as well. And hit Play. Now everything should, we allow more time of simulation, everything should fall into place. And we just missed the alpha channel back here. Let's stop the simulation. The Alpha channel to those patterns. Are there frozen, sorry. Control k you again. There we go. That's it. We just got everything. I am going to give this tenth particle distance to every single piece, which of course is going to make this quite, quite heavy. But now we can actually go into a post. So let's go avatar female B2 poses. And let's go for this show off pulse, pulse posts only and the simulation we will start. The governments should start flowing into position. There you go, guys. If you've managed to get all the way to this point, congratulations. You have the first three addresses. We're just missing one more just for a girl, don't worry. The last result is actually very, very simple. It's a very stiff address. The cloth is not gonna be as intense and it's going to finish the story arc of Camila. Camila. That was her name. Yeah. After going to the office and then to date to a nice party, we're finally going to go to the wedding. So that's it for now, guys. Hang on tight and I'll see you back on the next one. Bye. 22. Wedding Dress: Hey guys, welcome back to the next part of our series. Today we're going to continue with the wedding dress, the final dress for our character, the final address of our story. We're gonna be doing a fun one. So in this case, we're actually not going to be following a pattern in the same way that we followed the other patterns. Because it's actually the slightly more complicated. It's going to combine all of the things that we've learned so far. But we're gonna be doing a modification since we already did a long dress for the night date. I was thinking about doing this one right here and this one has a free pattern is there on your under Chapter folders. I'm going to be using it as well. But what I really like about this, and by the way, this is a great site. I'm not sure if I've mentioned this before, but the MOOC society, society is a perfect place to get free sewing pattern. The only thing is you need to sign up to their mailing list. After you do that, you get the free patterns. They even come up with an instruction. So if you're completely new to the world of tailoring, as most of the 3D artists art, make sure that you get yourself a subscription on this thing because it really helps you understand a little bit more how it works. Now, not all of this is going to be translated of course, to the main, What's the war to the main work, to the main characters. It's going to give us a nice effect. So this is a one. Let's bring our, our avatar. Let's go for Camila. Go. Just open. In this case, instead of using the pattern, I mean, I am going to bring the pattern because it's always important to see what we need and what we're doing. I got this one for you, by the way, guys. It's called cosmos pattern. We're going to say 200 here. There we go. Let's move it a little bit to the side. I think 200 should be more than enough. I got him. We're not gonna trace it, we're just going to use it as a reference because trying to trace something that's form fitting, it's impossible. I believe me, after I did, It's really, really difficult if you tried to create a course set following patterns and they're trained together on the avatar, not gonna work. You're gonna have a huge headache and he's gonna be really, really difficult to do. So instead, what we're gonna do is the following. We're going to go to the garden section and we're going to bring in a t-shirt and we're going to add it, okay? Now we're going to make it a little bit smaller. A little bit too big right now. We're going to simulate. There we go. Now, why a t-shirt? Well, a T-shirt already has the form that we're looking for and it's gonna be a lot easier to, what's the word to replicate or duplicate this guy right here, then there's going to be to make it from scratch. Now we don't need this leaves, as you can see, the addresses asleep less. So we don't need this leaves, this is all we need. The first thing we need to do is we need to create a course set. We need to create this thing and make it look as nice as possible. So give me just 1 second here. As you can see here on the image, the main section, like the body section, is again pretty much like a core side. It's going to be very foreign feeling. We're gonna have a zipper on the back. We haven't talked about CIPARS before. They worked in a very similar way as with buttons, where we're gonna have a zipper on the back. So this, as you can see, it's gonna be my front panel. Now. The front panelists you can see has no seam. It's a mirrored elements. So we're gonna start with that. We're gonna start tailoring this sort of shape. I don't worry too much about the distinct right here at them. What are they called? I always forget about that. The name of those things. Lace, lace. It's called lace. It's got this very nice. It's transparent fabric. So we're not going to worry about the lace. Uh, yes, Jed, right now, I'm going to be worrying about the lines that we have right here going through the arms and into this very nice cleavage on the front, we'd like a heart shape. If we go here to the character, the first thing I'm gonna know this is that what we need an internal line. So I'm going to go to my internal lines and turn on polygon lines and know that we're gonna go pretty much from the side of the arm, like right about there. Then we're gonna go up, follow the shape of the bust, and then finish right there on the center. Let's go back and double-click that week. That's roughly the shape. One thing we can do here just to keep us ourselves a little bit of an idea is we're going to add a new fabric. This new fabric, Let's make it black. And let's bring the opacity down to like 50%. So I'm gonna go deadline right there. Well, not yet. I want to grab, I would like to grab just this pattern. We're going to be adding that new material to a top area so that we can get the sort of transparency look, bring know. It looks a little bit low here on this side. So I'm gonna go here. We're going to start changing the curvature. So let's go to Edit curvature. Well, I'm going to go like this. Cover a little bit more of her breasts. Change the curvature here, that looks a little bit better. There we go. Now again, if we check the reference right here, you can see that we have a line going right here, which is kind of like a dark. We've talked about this once before. They're kind of like Princess starts because they're going to again remove some of the fabric that we have, like floating right here. And they're gonna make the whole thing look a little bit nicer. So I'm going to go again, we'd my internal polygon line from about that point. All the way down. Let's start all the way down. Just hit that. And then I'm gonna go to edit point or at point spline where the boat there. Here's what our pattern comes into play because we can go to the patterns you okay. This is my front bodies. This is the front part of the boat actually, this one is the front part of the body or the sidebar. As you can see, this this is a frontal, a sorry, this is the front of us. So this one right here, as you can see, that's the sort of collaborative point. I think that's the one. No, sorry. This is a site from, you can see we do have a curvature right here. We do want to add a sort of like a dart in that specific area. Now it's a good point to actually split this thing. So I'm gonna go into the patterns again. And let's select our pattern lines. Here. Right-click, Right-click, Right-click colon. So there we go with this points that we have right here. Again, if we simulate this is gonna be pretty much the exact same thing. Nothing is really, it's really changing. Well, if we start moving this thing, we know what we can do. We can move this thing out, this thing in. And that's going to create a nice start that now we can change that dark to anchor point on both sides. And we can start playing with the curvature. Curvature. Let's push this curvature in, in. And there. We looked at that a lot more forfeited. Now one thing that you're gonna notice is down here, we have a really ugly effect. Why you need to understand this every time we add the dark, it's like pushing or rather pulling from specific points. So the curvatures on other parts of the piece might change. In this case, we need to bring this point down a little bit. And only that I showed you. Yeah. I mean, we need to bring the point down. That point, we need to bring it down a little bit, a little bit more. And we need to change the curvature of this thing right here. We need to give it a little bit of curvature. There's one, you usually want to keep it at 90 degrees. And then with a curvature again, we bring it up. Now we have a nice curve here on the front. If you want this to be completely straight, we can also do that. This one is completely straight, but we're gonna have a belt. So I think I want to keep it kind of like round. Feels like it. I feel like it looks a little bit nicer. But again, feel free to change it in any way using fit. As you can see here, we're going to need the dark. That's another piece where we're getting a little bit of fabric now, I'm not too worried about that piece just yet because I know from the, from the reference that we're gonna have a sidebar this right there on that line, right there, right there, right where that thing is, We're gonna have a line and then we're going to create another line over here and we're gonna delete this initial line over here. So let's go, let's do that. Let's go to the side panel. We don't have a site balance. This is a side panel. Let's go here. And we're going to pretty much do is we're going to add another internal line. I would say about trying to find the specific point. Things somewhere around. There should be fine. Just hit enter. That's a little bit too. I mean, it's not that bad. A little bit too. Forward. Let's try that one right there. Yeah, that's way better even if we get a really small elementary there. I'm not sure. I think I wanted to do it right here. Yeah. Let's do it here. On the outside because otherwise this panel is gonna be super, super small. And again, if we take a look at the pattern that we have here, we do have a side panel, which is, whereas this one side bodies, as you can see, it's shorter, it's shorter than the, than the rest of the element. Now, we're of course going to have another cut right about there. Now it's a matter of, of course, cutting and sewing those things. Those are the little panels there and cutting and sewing. Those things. Now that we've gotten so on those things, it would be a good idea to get rid of that line that we have right there. So I'm going to go into, I get into my segment options, select this link right here, and select this one right here. I'm going to right-click and hit Merge. Now it's a single panel. Now that we have the single panel, again, we can check the fit. It's not that bad to be honest. I am going to go for a slightly thicker cloth later on. Like this, this thing that I'm seeing it right here, I'm not too worried about because again, this is the lice that we're gonna be changing, modifying later. What kind of looks nice. This of course is a lot of code over here. So we're definitely going to have a dart on the back side of things. So on this area, Let's add that Dart. I'm gonna go here to add a point. I mean, we could, if we wanted to be like super, super even. The best idea of course, is to just grab this guy Right-click split and say uniform split. Okay? So this one is Split, uniform split. Okay, that way both posts are in the same position. We're going to grab them both. Let's transform them. Double-click here. We scale at the same time and then grab both of them, right-click and convert grid points. There we go. So now when we do this, again, there's gonna be a little bit better, a little bit more form fitting. I'm seeing a little bit too much cloth on this side right here. Let me see if we can reduce it by changing a curvature again. Yeah, there we go. So as you can see this one still, like I would say, comfortable enough. We can of course make this an even wider. There's gonna be a little bit tighter. There we go. Again, if you ignore this piece for now, you're going to see that things are looking quite, quite nice. I do think that the curvature here, it's pinching a little bit, but I think it's because of this piece right here. So we're gonna be modifying the top part, the last part. Later on. You can see that the bothers this is fitting nicely. Now let's work on the back portion. Now you can see that here again on the reference in the back portion. There's the back. That's the Bakelite. Sorry. Where's the back? I think you're meant to cut two pieces of this one like the back and then the front. So we don't have a dart on the back. I think we should write so you can see all of these things right here. I think it will be a nice idea to have a dark going on this direction. Again, to remove some of those clots. I'm going to go to the backside of our, of our pattern, this one right here. I'm gonna select this line right-click. Let's go to Pattern. Select the line right-click and we're going to split, again, uniform split to keep it even. Remember any point that you have, if you select a point can be converted into a dart. Just hit. Okay, and now we can modify the darts. So let's go. I would say quite high and let's make this thing a little bit wider here. When we simulate, we get that effect. There's a little bit of a wrinkle, there is a little bit kind of expected if we want to eliminate that one. I think we can bring the data a little bit higher. I think that's helping maybe a little bit more even. There we go. There we go. That looks very, very nice. It kind of follows the same sort of pattern a look, and he's gonna be in the back, so we really don't care about that one. Now, I do want to keep things a little bit straighter. On the back side or on the tops here. Will not everywhere, right. I think I'm gonna go with her underwear line. I think that's a nice, sexy line to follow. And I'm just going to follow or I'm just going to grab, this point is right here. This inner points. Let's bring them down a little bit. That's bringing in some wrinkles. There we go. That's a little better. There we go. Now you can see that we have a pinch there. We've talked about this one before. How do we fix it? We can of course move this things down, which I think in this case it's gonna be the option. There we go. Now, eventually when we add like a nice belt and this area, it will be a little bit easier to just follow everything. That's it. That's the, that's the, pretty much the bodies like we have everything here looking, looking quite nice. One thing we could do, we could do though, is we could just finish this line all the way to the top, which will still keep the sort of like dark going. It will keep the paddling. But if you take a look at the reference again on the backside, let me see if there's a picture. There we go. On the vaccine. We also go like really, really close. It's like again, like a struggled, not struggled because we're using this lace as a strap sort of thing. But we are following this thing very, very nicely here. You can see some wrinkles there. Again, very, very, very common. So I do think we need that line. We definitely need that line on the patterns to divide what things are going to be lazy and what things are gonna be non-lease. In this case, I'm going to grab my again, my internal polygon line. We're gonna go from the armpit. We're just going to go straight to the back of the character. There we go. Now, as you can see, that are just really, really, really close to the final part right through to the end of the line. So it might not be a bad idea to just the codon so or just extend the dart all the way to the top. So yeah thing we're gonna do that. We're just gonna move it right there. Entrepreneurs are not letting me. Perpendicular line on the y-axis. We can just use our internal line. Then let's just use internal polygon like from here to here. There we go. And now if we want, what we can do is we can just cut and so that piece. And then just select that point. Delete it. So good point and delete it. That's another dot, right? So again, if we simulate, shouldn't be that much of a difference, we're still gonna get our nice bodies. And now we actually have the segment's going to, to where we want. A little bit weird. They're missing the sewing line segment so you can see the stitching there is not going everywhere. So let's select our sewing. Sewing. Let's delete the sorry, and then segment sewing and we soap whatsoever. So now you can see that the seam line actually works and looks the way it should be perfect. So now as you can see this big pieces up here, we can select the fabric that we selected earlier and we can just replace them with this lace fabric. Just to understand that, that lays fabric is gonna be, it's gonna be using this way, right? Like we're gonna be using this to, to build the remaining part of a character. I'm going to stop the video right here, guys, with this equation of the bodies. In the next video, we're gonna go with the skirt, which is gonna be quite easy, quite fun. We're gonna do a nice little belt here for our wedding dress. Again, as you can see, we aren't doing some modifications like we're not following this wreck exactly like the one on the reference. And this is one of the things that I wanted to make sure you guys understand. You're free to do as many things as you want, as long as it looks cool, as long as it follows the story that you want to tell. As long of course, adjust you're not following a specific exact concept. So in this case, I think as you can see it, this one is looking quite, quite nice. Hang on tight and I'll see you back on the next video. Bye-bye. 23. Zipper and Skirt: Hey guys, welcome back to the next part of our series. Today we're going to continue with the zipper and we're gonna do the skirts as well as we've mentioned before. So let's jump into it. Let's start with the suburb because it's a fun exercise and I just want to make sure that you guys understand that it's really simple. It's a very similar way in how we do buttons. By the way, I'm just going to grab this three things right here and move them to the site. And the one thing I do need or want to do is I want to delete this sewing that we have right here. So if we delete that sewing n, we'd leave this, this sewing right here. What's going to happen, of course, is when we simulate this thing is gonna fall open, which is exactly what I want. Now, I'm going to create these separate, that's going to combine both elements from one side to the other. Because if you guys have seen any course sets, of course that's a really, really tight. So if they were like Titan and you try to wear them, it will be impossible. So usually they have laces that you like, so together pretty much. But in this case we're gonna be using a separate. So it's like a super app. Of course at the separate rule is really, really easy. One thing I do recommend doing is and make sure you delete or remove the linked editing for this one's for just a second so that we can select our separate tool right here. You're going to click on one side, all the way off click and then just hit Enter or just double-click. And then you go to the other side. Oops, that again. Double-click. Again. Though. Click there we go. And then just click down here and all the way up, double-click automatically. As you can see, marvelous designer will place a separate on the position that we selected. And not only that, it will actually connect it together. So if we simulate, you can see that super is now super dark. So one thing that we definitely want to do is we want to change a couple of things on December. First of all, I think it's a little bit too big. Second, it's the other way around. So you can see the Tsipras down here and normally servers are up here. You can select the zipper in, in a very similar fashion to buttons and everything there. A C-section for supers over here. I think it's usually not buttons, whereas it can find it right now. The UV editor. That's fine. Let's go back to the fabrics. So anyway, the superstar, I fear, as you can see, you have the reverse direction, so I'm just going to reverse it. You can see that it's already fasten. So we have the fastened option turned on. There we go. Fast and super. So it's trying to of course, fast and super. And yeah, that's pretty much it. We can change the type of Sippar up here, like the polar. There's a couple of options here. Let's go for a really nice one, like small, small, kind of like hidden one. You can change the slider as well. Let's go four more. Softer, interesting one, you can change the volume of the super, pretty much everything. You can change the opposite side. So in this case, if we unzip the object, which by the way you can do here, the only thing is you select this guy and move it down following the super light. And if you simulate, the server is going to open. So depending on which side you want each of the lines of the circuit TV, you're gonna get that same effect. Now, personally in my work, I don't use supers as much because they are a little bit difficult to bake later on. So I prefer to just do this at the very end. On the other texture side of things. However, if you want to do this for previous, like what we're doing right here, it works amazingly as you can see. That's it. That's the super. Let's go forward the skirt. I do want to add a nice little belt here on the, on the underside of the character. Of course, there's always a couple of ways to do it. It depends on where we want the belt to be sitting. I think sitting here above the line that we have right now will be the best idea. So what I'm gonna do is I'm going to select the patterns, all of the lower patterns, like lower lines with the patterns. I really liked the curvature that we have. I'm going to keep it. All of this patterns. Patterns are no longer live links and make sure to select both of them right-click and we're going to offset that's internal line. And the thing we're gonna do, Like like 50 millimeters. Good, or is that too much? I think might be too much. Let's do 30 millimeters. Hit. Okay, there we go. We have a nice slim effect over there. Now of course, well, one of the things here, the Supra, as you can see, is like taking the default end. If that's something that you don't want it, we might have to delete the super and redo it only on the top part. But for now I'm gonna, I'm gonna leave it like that or actually no, let's do it. Let's go here to the Sippar sewing line. Well first let's called the slides. Right-click. And so there we go. So now the full belt is separated from the piece. You can see that I think the super yeah, the super, it gets destroyed pretty much. So we needed to rebuild it. So let's go here to the super tool. Just click, double-click, click, double-click. There we go. And on the Super, of course, we're going to change the little thing again. Nice, easy one, and we're going to reverse the direction. There we go. So now the server is only going to be there. As you can see, we do need a little bit of an extra piece there, which is weird though. Otherwise the belt is good to have an issue there. So I'm just gonna go with this line. Let's grab this pattern and this pattern, let's make them against symmetric pattern with sewing them together. There we go. Cool. So now we're gonna have our belt. And I would definitely be of the opinion that we don't want to have as many cuts on the belt as as what we have here. I'm going to go into the segments sections and start emerging. March. March. As you can see, the belt is going to be around. We've seen this before. And the reason why it needs to be around is of course, because the curvatures are different. Very common to have this sort of thing. I wish we could have the curvature tool from clo 3D. I want so much better, but there we go. Now our belt, this already, we simulate things look nice. If we wanted to change the curvature, we can of course change it. But I really like it except for that little point right there, which is that one. I'm gonna select that point and that point I'm just going to convert your curve points. Then definitely need to change the curvatures little bit there. And just simulate. Cool. Now if you want to make the bell thicker, of course we can just delete it. Or another option is you can just build a new belt with a distance that we have, which is what we're gonna be doing with that with the skirt. Because now what I can do is I can select that the segment here. So it's 12123456. Oh my God. 345678. Now, wrong click at the end. There we go. So 755 is our number. So I'm going to create a rectangle, 755 heat, okay. We know that we need to create a district. That's why I have the pattern right here. So 700155 eats the curvature, the inner curvature that we're gonna have a right here on the inside of the cloth. Now, we need to create the curvature of the skirt going pretty much all the other way around. So again, there's way to do, there's ways to do this. We'll probably one of the easiest would be to extend this patterns and then just merge them so we create the curvature. So let me show you. First of all, I'm going to split this. I think it's easier to work with a halves. So let's split this uniform split. Split, split. Okay, let's grab our internal lines. There we go. Codon. So let's delete this guy. Now it will just grab, this is a half, a half piece, right? So we need to create a little bit of a curvature here. This piece. Actually not another way to think of. It depends on the type of sqrt going for. I think we're fine here. So what we need to do is to keep this curvature right here. But like create the whole half circle, I'm going to use the slash and spread tool. Remember this one? We're gonna go here from the center out. And we're going to move this thing like this a little bit more. Let's try the game. This side. We're gonna do this. There we go. Now this distance remains the same distance that we had before. Half of what we needed, which is 370.577. I am going to make it a curve point though. So convergent curved point. And I'm going to start modifying this so that we match the same distance that we had before. We were fine here. It's just a matter of moving to curvature. Remember it's three hundred and seventy five, seventy seven point five. But I want to make sure that this looks like a surround as possible. Closer to our pattern. Now that we have, we have that it might not be a bad idea to transform this 0.307. Let's go through like about there. Again, let's play around with the curvature. Can push it a little bit in till we get to the 377 or as close as possible. There we go. Now, I think I'm gonna move this segment down. Just to give it some more. Let's delete that point. It, Let's delete that point. I'm going to grab this button right here and then convert it into a curve point. Now, we should be able to again edit the curvature here. To make it round. We wanted us to be like a really as clean as often the lips as possible, something like that. Cool. Now we'll select this piece. We can right-click. And we're going to unfold this piece. Of course we're going to convert to a corporate as well. There we go. A little bit worried about this line right here, but as we saw before, this is the department number. So let's see how this source into the, into the character. Of course, we're going to do the segments sewing from here to here. Let's move this thing a little bit here. It's a little bit easier to simulate. There we go. Well, let's be beneath the hands. Because it's going to fall down and it's gonna, it's gonna go up after that. Not too much of a problem there. Let's go here. And here's where our free sewing tool comes into play. 55 to yeah, there we go. So 54.9. So what could it be any more exact? It just does now. There we go. Have a very nice skirt flowing nicely into the character. Look at that. I'm very nice. Bleed still not exactly pleased, but we have this very pretty looking effects right here now, I don't want this to be a long dress. It's very common for this elements to be a longer dress. So that means that we're gonna have to push this thing out and out. Let's do this. Let's see if we can do this geometrically. Double-click. They're bigger. And then we're going to change the curvature again. Now I'm just like a hand modifying these things. I know this is not no longer exact, but any point we can just go from this point down and then just unfold. Let's try this. I just want to find the proper length. Almost there, almost, almost there. So let's stop here. And let's go here to again to our internal polygon line. Just go straight down. Hit Enter. And I'm just going to select the pattern. Let's call them so and delete that one. Unfold. I'm actually going to make this thing a little bit easier to fix and stuff. I'm going to add another internal line. I'm going to cut them. So again, I'm going to apply the symmetric pattern with OIT. Let's, let's erase a couple of things. Because if we simulate this thing is going to just hold down. So let's edit our sowing lines. Let's build it, this one. Let's start again. Free soloing. It's from the back. Let's start here from the back to the center. From the back to the center. From the back to the center. From the back to the center, we see me live now. Scores falling nicely. Stop sewing from here to here. We go. Help this thing unfolded little bit better. There we go. It has a nice little tail over here. I like it. I think I liked this height. That way she can show off her are her shoes. But now what we can do, of course, is we can change the curvature slightly just to make it a little bit nicer. Like I didn't like this or like front, front curvature on the, on the front. Then like a like a little bit of a tail. Like I don't want to like extreme long tail for dress. But just something that looks, that looks nice. There we go. Not bad, not freaking bath. Now, I think this cloth could be like a sparkly fine looking metal thing. I'm going to add a new fabric. Let's select a belt. Apply the fabric. And let's just go for like a like a silvery color. So I'm going to just do a greater than, so we can see a nice line. There we go. So I've seen some wedding dresses. Were they add a little bit of a metal thing just like hanging on the hips. Looks very, very nice. We have the shipper. Yeah, we're in a really good position, guys. Now it's time that we worked on the on the lace on the top. And I'm considering adding loves, but I don't think so. I think this is a better modern dress, so gloves might be out of the question, but you probably have seen this sort of like Laos where they only have one little finger or something. I think we're just going to work on the lease. We're just gonna do the lace and we're gonna do the opening here on the back. So that's it for now, guys. Hang on tight and I'll see you back on the next one. Bye bye. 24. Lace: Hey guys, welcome to the next part of our series. Do they were gonna continue with the lace part of our address. And that's a very simple one. So this is probably gonna be the last one, the last part of this chapter. Yes, sorry, Let's get to it. And this is where we left off. As you can see, our garments looking nice. And there's a couple of things here on the, on the actual address of that we need to take into consideration. First of all, there's this open back on the back, of course, we have a neck that's also important. We have a little bit of neck piece that we have this lays going from, as you can see from the armpits back. It also goes all the way back area and then he goes up to the top right. So that's one of the reasons why we also did not delete what we had before, like this sort of base that we had. Again, if we take a look at the, at the reference, you guys are gonna see that we have this very nice open-air cleavage on the front. And that's the first thing that we're in. We're gonna start with, I'm gonna go here with my polygon lines. We're gonna go to the internal polygon lines. We're gonna go from here. I would say like about here, Let's make it round. And for probably like if we want to have a nice curvature to about there. Let's hit Enter and just double-click. Yes. So now that they see the line, I think it might be a better idea to make sure it matches this apex point on the character. So let's see if we can move it. So I'm going to again start at the center and it should go to about there. There we go. That's a lot, a lot better. Now of course the curvature is not perfect. I don't particularly like it. Delays will play an important role. Unfortunately, I don't have this particular lays out for you guys. We're actually gonna be using one of the previous opacity maps that we used. But let's modify the curvature so it looks a little bit nicer. I think something like this. It looks okay. Now of course we're going to sewing cut. And at this pattern, we delete, we don't need it anymore. And this is what we're going to have. Now, you can see that now the Fed changes slightly because we don't have as much support, but we do fix some of the effects that we have here now one of the things that changes and I don't like it is, and now we have this sort of like Flappy edges here on the top. So how can we fix that? Well, we know that this is extra fabric right here on this area. So it might be a good idea to remove some of the fabric on this side and then just pushed a curvature in. We could also try just moving the curvature. Let's see if that works. I'm a little skeptical of this is going to work or not. Based on my experience with yes. See that little thing right there. That's a no-no. That's something that we want to we want to work with. I didn't want to add another dark. You can see that there's no dots over there. So I don't want to add another dark, but if I went to benefit or changed the fiddle a bit, this point right here. Let's just transform point segment. So this point right here, we need to move, but I don't want to change any of the other things. So I'm gonna go again to my internal lines. Go through internal polygons, see that little triangle that we have right there, that could be our guide. We're going to go there and there. Hit Enter. We're gonna select that pattern cotton and delete these peace. Same for this one over here with our free sewing tool because that piece, or this piece has no sowing lines. We're going to show it to the side that should push. As you can see, the garment a little bit more and we'll get a less of that effect. I still little bit too much cleavage there. Again, the resolution is not going to really change the fact. We might want to bring this point up, for instance, this point bringing it a little bit up. It will also pull a little bit and it should help with the overall field. I still feel like what their salt love it too much cloth there. We might need to, now that we have this point that should be a little bit easier to fix, we can wish, we could just put, push that one. There we go. And as you can see, we create the stretch in. There we go. That's a lot cleaner, a lot nicer. Now the point here might not be now where I want it to be. As you can see, I think I would prefer it to be closer to that, to the side of the character like on this side. And it's a little bit closer in. So now that we have this, it might not be a valid here to grab all of this points. Since this points and just push them out a little bit more. Let's move that out, out. That way we can move this in a little bit. And then it should be a little bit better. I mean, I think it does. It is going to look quite nice. It's a very again form fitting thing. Now, at this point right here, we don't want that as you can see this. We're going to have the neck. So I would suggest that we have a square point right there. I'm going to add another curve point where they're just enter and then edit or transformed at kryptonite. Points blind. There we go. Transform the point. There we go. We're gonna meet this straight and we're gonna segment. So this to this. There we go. Now this definitely needs a little bit more particle distance. So just to work on this one for now, I'm just gonna change this to a ten particle distance. It's going to give us a nicer for me. There we go. Now, on the back here, again, following the reference, you're gonna see that the only difference is that we have the neck line and then we have this open thing. What's that? It's a dart. It's just the dark, but it's an O1 enclosed starts. So we're not gonna show in that dark. So we're gonna go over here. We're gonna go to Add Point spline. Let's add a point right there. Then we're going to transform the segment. Move this out for a little bit more, right-click and just make this a curve point. Convert to grip point. On the solid line that we used to have, we are going to lead it. So there's not gonna be any more as sowing lines. I'm not going to simulate job because if we simulate all of these things is going to fall. And of course that's not something that we want. Now, let's get the segment length for the, for this thing right here, which is 84. And on this front part we have a 113.6, so that gives us 98. Let's grab a rectangle. It's gonna be a 198. And it's not gonna be super long. So it's probably gonna be like 20 milliliters or maybe 30 millimeters heat. Okay. Let's assign at the fabric the same sort of like laced fabric to this thing. There we go. We can show the arrangement points of her character. Select this guy. Let's go to the front there. Perfect. We need to unfold. Let's let this guy and get it there. Perfect. Of course we saw one side to the other. Then with our free sewing tool, we're gonna go from the center. We're gonna go from the center, out from the center, out. There. We go from the center, out. From the center, out. Then from the back center in from the back center in from the back center in from the rec center. We see me late. We're gonna get our neck a little bit too long. As you can see here. It's way more. I is fitting the, what's the word, the base of the element that we have. But it's too long on the upper side. So this is where we're gonna have to switch things around. So I'm going to grab this upper points and then transform them. Double-click on the center point. And let's make this smaller. I want to eat closest. It's closer to the character. Now of course, as you might imagine, this curves, we need to change this thing a little bit. So the colored afloat, I mean, it doesn't look bad to be honest. It looks interesting. It keeps it flattened nice on the front. But over here it looks a little bit weird. So we want to change that. That means that we need more volume on the back, like we've talked about this before. So we're probably going to change this, move this up. This is getting me more volume on the front. Of course I know that. What I'm gonna do actually, I'm gonna grab this three points, bring them. Then grab this point and bring it down. Now we're going to have more cloth on the back. What we have in the front seat so we can keep the front clean. The back a little bit nicer as well. Now of course, to make this thing even nicer, we can convert this to a curve point. That window friends gonna be curved. And then a back here again, just to make it curve, we might want to push this thing's still too much, too much plot. So now we're going to have to keep it in. That looks a lot better. There we go. So sharper. Look here. Nice look over here for It's gonna be a little bit wider here. We can change everything. Remember, at any point we can just start playing around with elements. And we definitely need to tense this up as well. So we're going to go to our free sewing tool. And on the back part right here, we're going to start from here, or actually, let's, so from here to here, from here to here, from here to here, or the Cyprus to there. So now the whole lace as nicely, nicely laid out prior effect. Whenever lasers left like this, you're going to have this. It's very difficult unless it's really, really form fitting or unless we had a couple of dots here and there, it's gonna be very difficult to make sure that the ice flows very nicely because lace is very, very loose. It doesn't have a lot of support because of all of the holes. So don't worry too much about that. Now, this is the detail that I really like because you can see it goes from again, from the sort of like the armpit up. And he doesn't cover the whole thing. It doesn't go all the way to the side. So following this bothers again, right here, I'm gonna grab my internal polygon line. Let us go to the armpit. We're just gonna be this point right here. We're going to create a curve going out about their nicer, the shoulders are gonna be a lot cleaner, I would say right-click cut. And so we select that guy, delete. There we go, like that guy and delete, nicer and nicer back as well. Like pointy and right there, I don't think it's that much of an issue, but if you want to soften it up, well, of course we're going to have to go to this points and just play with them a little bit and move them around. Now one thing, as you can see here that looks really, really weird. This is the fact that this thing is not like it's stopping right there. So easiest way to find the perfect point is we're going to select that this segment right here. As you can see, it's 58.7. We go to the front part, like this one, Right-click split, split by length 58.7 and hit. Okay. We should have, I think it's the other yeah, thanks. The other way around. So select this guy again, split by length 58.7. I can't see the point. That's weird. I'm just going to change this to reverse. There we go. Okay? So now we have the point right there. We go to our intern polygon lines. We go there. I don't like the flow that we have there, so it's just a matter of luck finding a nice mathematical curve that flows into the body like this one. We want to, want the shapes to be nice and clean. Now we select the pattern right-click cotton. So if it's failing to cut the pattern for some reason, that might be because it's not going to be boarders. We can select the line, right-click, extend treatment that point to pattern outline. Just be very careful here that we are actually going to parallel. It seems like we are now called. And so that's really weird. Selecting something that we shouldn't. Let us try just calling filter custom patterns, principles and our host intersecting hottest, really weird. Let's try extended trim to parent outline, strength training that point to turn a line like just click everything and see if that works. Nope, it's not working. Okay, so another thing we could do is we could just keep the thing and add it like, I don't know opacity 0 material, but that's really weird. I'm really curious why that's not working. Let's just delete it. Let's do it again. From there. I'm going to try and go to the black point. There we go. I don't love this curve, so let's change it. There we go. Sharper, sharper curve. Now technically, technically, there should be working. Really weird. Let me turn off the lights, blinking, light, anything, maybe that's what's causing it. I will be really surprised that that okay. It's really surprising that that's what's causing the issue. But whatever, just delete the life leaking. Again. That's really weird because it worked on the other one is not enough. It's not working on this one. Wow. I'm not sure whether this I really don't know what it is, but I mean, worst thing, worst-case scenario would just control C, Control R. So this is back to the other side and then just rebuild our sewing stride. So it's not, it's not the end of the world. Let's do free soloing over here. What's the distance that's in the sidebar, this from here to here, from here to here. Am I right? No, it actually goes into the other piece. That's going to be from here to here, and from here there. Then this last little triangle goes to the phase one right here at the other one. Right? Yes. Now of course, this segment right here, it goes to this other segment right there. And the color, you're seeing, the color. This segment right here. It goes to the segment. Cool. Now, wait, no, my bad. Something changed shear strength to go somewhere where it's not supposed to be going? Yeah, because it's doing the second note, my bad again, free sewing. We're gonna go from the center, back, from the sensor. Back. There we go. Now it should work. Perfect. And that's it. We have our nice wedding dress now here, one thing that looks kind of ugly, if you ask me is the Brock. I know that for this kind of dresses, especially with a really high coverage link, this one, local average. In this case, women would wear out, not brought sometimes it's just like a really soft brown on the bottom side. That's it's part of the site. What we can do here, of course, is turned off the avatar. And there we go. We have this very nice effect. Now of course, a fabric is not gonna be black, it's not gonna be black. Let's go for a soft gold color. I think this is gonna look interesting. It's like a pale gold. Again, as this type of making sure that all of the story clicks together. We can go into the opacity, add an opacity map, and we can use the same opacity map we use on the Red Dress. Remember this one, the Alpha. So it's kind of like important the fact that that it's the same pattern that she wore on the dad special night. Maybe that was a night where she got the raining or something. I don't know. You can you can of course embed the story that you want and that's gonna be part of the storytelling process. Let's just go here to the texture graphic unless maybe increase the It's over here. We're going to go through the fabric on the opacity map. Let's change the transformation. Let's make this smaller, like a 20, actually bigger. Let's go to like two hundred, two hundred, a little bit too much. Let's go half that. 100th. 100th adds a little bit better. There we go guys. We finished our very nice wedding dress or following one of the patterns and doing our own stuff, like adding our own stuff. We have a zipper. We created this whole course set and of course at that skirt, This is it guys, this is the end of chapter four. And as I've mentioned throughout the chapter, one of the most important things about or for me to show you guys is how, how easy or flexible it is to work with patterns sometimes, but how tricky could also be. And it's important that you understand all the tools that we have to do with patterns so that we can create more interesting stuff from that one is probably that we're not going to use as many patterns. We might use a couple of ones, but we're gonna be doing a lot more like free sewing with some more exercises. So yeah, hang on tight and I'll see you back on the next one. Bye bye. 25. Importing Custom Avatar: Hey guys, welcome back to the next part of our series. Today we're gonna start with chapter five, and this is gonna be our last chapter. I was thinking about having multiple chapters for this final Bart and then combining everything at the end. But I thought it was gonna be a little bit easier and more, more easy to understand if we just keep everything in the same piece. Chapter, this chapter we're going to be focusing on the final project of our course. And we're gonna be grabbing a custom avatar and we're gonna be creating the whole uniform for him. A long time ago, not so long ago, but a while ago I did this character for another class, another place that we're gonna be using him. He's an AC rock. It's kinda like an alien species, kind of amphibious species. And he has human-like proportions. So we're gonna be using him as a base. And what's important about this as well. I'm thinking about the story where this guy is part of an alien race. If you can imagine that we have made contact with and he's now a training. We'd like the army, like let's call the earth Army. And this guy says army are now combined. They're going through bootcamp at the same time as we are. So he's going to be the main character of the movie, the series or the game or whatever. And I felt it would be quite nice and quite funny to have him be dressed up as a soldier just like a normal traditional shoulder. So here's some reference of what we're gonna be doing. The first thing we're gonna be doing ASA pants like technical pens. Then we're gonna do some things on the top as well. And we're going to dress him just like as if there was a soldier going again through bootcamp. So today we're gonna be focusing on how to import this guy here instead the formulas assignor so that we can start working on him. It's actually super sweet file, I'm sorry, import OBJ. And we're going to unpack this guy which is 100 probably files accurate clean version too, just to give you an open and a couple of things that we need to change here. First, I'm going to make sure that automatically add the arrangement point is set up to on. For this to properly work, your characters should be in T posts or in a post. Now, I'm gonna be honest with you, it never works perfectly. It just gives you a starting point and I'm gonna be showing you throughout this video how to adjust it so that we get something closer to what we would expect to have whenever we're working with other kinds of characters. So I like the avatars inside of here. Now I am going to say the scale also very important to make sure that the scale is set up to the proper scale that you did. This guy is setup to real-world scale. And I did this guy in Maya, centimeters is the way to go. That's it. Just hit. Okay, and there we go. The character is inside. The collision volumes are properly working like he's gonna react to all of the clothing pieces perfectly fine. I'm gonna grab this guy. I'm just going to bring him up. If it goes in. He was going or what's going a little bit through the floor. Now, he's perfectly, perfectly ready. Now, if we were to go here to the arrangement points and we showed the range from points. You can see that it's not bad, right? Like the arrangement bonds are actually quite close to the character. But there might be a couple of things that we might change. The way to see this as if we see not the arrangement points with the bounding volumes. There we go. So again, it's not bad. We got close to it, at least like the chess pieces are here, the head is there, the arms almost there. But there will be better if we could just modify this a little bit. So I'm gonna go to the avatar menu. We're going to go to the arbitrary editor. And here's where we change all of the things. As you can see, this is the decisive, the avatar body. Actually, I don't think I've mentioned this before. Let me do a quick quick. What's the word parenthesis here? Because it's actually a very important. Let's bring Camille, Rockwell or Camila. The apertures that are provided here by what's the word by marvelous designer. You can actually change them like let's say you're working with a character. You wanted to do like real life or garments, and you have the measurements of someone, you can change this. So for instance, if I say, I don't know what's gonna be the really extreme, but if I say 500, you can see how the, how the next change. So if you have the proper measurements of someone, you can change all of these things right here, the boss, the height, the nag, the hips, legs, like everything. Everything can be changing here. We didn't do anything or we didn't need to use any of this for all of the governments that we've created so far because we're just following a standard procedure. But it's a really cool option. So let's just go here, avatar, Albatross, and we'll go back again. File import, OBJ, this guy, everything selected, hit. Okay? And there we go. Just push this guy up. There we go. Now we're gonna go back into the avatar editor right here. And we're gonna go to the arrangement points, which is this one right here. Now, this elements are here, this are the boards, and the boards are the green things that you're seeing where the attains attachment points are gonna be placed. Now I don't want to mess up with the attachment points. I think they're doing it properly, that they're working fine. I went to mess up with this thing a little bit. So as you can see, we have a skirt right and sqrt left. Do we really need those? No, we're not going to be using skirts, so you can just supreme and, or delete and that's it, they're gone. I also don't think we need a head head head, right and left because we're not going to be doing anything and we might need this one right here, the head vertical up because maybe, maybe he would want to add like a hat or something out of it over here. I don't think so to be honest. But if you want, of course we could we could do it. Now, what I'm gonna do is I'm going to start moving some of this things. For instance, this is the body left and body right. I'm gonna select both and just move them down. Let's move that. That's probably right. And that's body left. That way. It's gonna look a little bit closer to what we used to have on our avatars. Let's go, for instance, now to the wrists. And I mean they're not wrong. I'm actually I liked to do the arms first. I'm gonna go to the right arm. First thing is I'm going to move it into position. You can try this option which is square feet to our Terp, doesn't always work. This is this thing right here. It really doesn't work. And another thing that's a little bit annoying is that you have to do this for both elements. So what do I mean by elements is if you do it on, once I do need to do it on the other. As you can see here, the risk is way, way too thin. So here are the length. I'm gonna change this, I'm gonna say like 8080. And that way the risk becomes a little bit like, nicer right? Now. We should be able to places where it's supposed to. So now I know that AD is probably the proper number. And again, it doesn't have to be perfect because the simulation is going to be taking a lot of, it's going to take care of everything. For instance, the arm. Let's go with one hundred and fifty and one hundred and fifty. There we go. The most important ones are the attention points at the top. I would say we've seen that before. So something like that. And definitely closer to the body. Something like that. As long as the points are outside of the body, that should make it a little bit easier for us. That's the same thing over here. So we now found that the proper this, this is 150. Just a matter of getting this close as possible to the other one like us as equal as possible. These are the shoulders, so I'm just going to bring the shoulder down here for this one. And of course, since this is an alien, its strength fine like other things that of course, don't match the character. You bring any character tried to bring the character, of course, in a sort of low poly version, this is relatively high, but not super, super high. Let's go to the neck. It's right there instead of the character. So I'm gonna change this to two hundred. Two hundred. That would be important, I would say because it could be the color for this one. So we know that the magic number was two hundred and two hundred. We just tried to bring it exactly the same point. Then you go, as you can see, things are looking a little bit better. I'm going to go with my legs. You can see that the leg is like a full leg, like starting to do the full, full leg. Which again not the end of the world. Probably going to go little bit higher on the high. That's fine. It's this one right here. It's it's kind of like like oval shape as you can see. I'm just going to push the x-axis a little bit more. Let's say 300. That's the other axis. Sorry, Let's go here. Let's go to 15, I think it was and then 200. There we go. That's a little bit better. Let's go 100 here and just push it to the side. There we go. So now our avatar is ready. Now you can see it's going a little bit farther out. It's fine. It's not gonna be the end of the world. We also have the ankles which are pretty nicely position. I think it's just moving them up is more than enough. There we go. After that's done, of course, we need to save. Let's save S avatar. Here on the chapter five, I'm gonna call this act rock. So technically what this should do is if we were to say, for instance, avatar, delete all avatars and we say File, Import or open avatar. We can open this avatar. And all of the arrangement points that we have should be exactly where we left her. Very important, very important to save your avatar because other words, remember sometimes when we opened the garments, the avatar is not there. So then if we re-import the OBJ, we're not going to have this. Now of course, another thing you can do, and this is quite funny, but it's totally, totally doable. We can navigate to the paths of this things. If you right-click and copy the path, let me open a new window. Let's now we get here. It's usually going to be here on the public documents. It's user's public, public documents wherever the center assets, Avatar, avatar, we have this. I can create a new folder called us, for instance, aliens. And then inside of this aliens, I'm just going to Control C and Control V. This guy. Let's say again, I will try to delete all arbitrage and then we go here. We're going to have the aliens folder and you just double-click, and there you go. Your arbitrary is inside. You can imagine if you're working, for instance, on a project that has going to have multiple characters and you're gonna be doing multiple garment pieces are outfits for them. You're probably going to have this sort of thing where you're gonna be changing this guy like multiple times and you're gonna be like bringing him several times since it's just a lot easier to have it on your library, which by the way, you can do this with everything. So it's extra garments, everything. Did you save it on that file path that I showed you in? That's it. Cool. Now let's do a test. Let's do a quick test. Before we finish this video, let's go to our garments and let's say we want to add a basic t-shirt. I'm just gonna say that hit Okay. And there we go. That's shirts there. Now we can't really use all of it. I know we normally use this option right here, which is the the olive fitting tool. But if it's not gonna work because it's not properly calibrated. So that's why our wrench and points are so important. So I'm just going to hit my arrangement points. So like this guy, go like there is fine, and then select this guy's there, it's fine. Like this guy. Go there. And do we have to pattern? It looks like we have two patterns. Yeah. I think we reported the thing twice. Okay. Let me just real quick. Let's find out. Do you want to save? No, there we go. So again, just like this guy, we have live life thing turned on. So if we fit something somewhere, it's going to do on the opposite side. Knows that's one of the cool things. Even if we didn't manage to properly line up things, it knows that the other one is a mirror image, even if it's not perfectly mirrored. There we go, simulate. And our character has a shirt, of course, going to have a little bit of overlap here and they're relatively normal, but that's it. Our character is now wearing a very, very cool shirt. Now one thing I want to do is I'm going to select the character, and I'm gonna go here to the color, and he's supposed to be blue. So I'm gonna change this color to blue. Probably like a, like a nice dark blue. There we go, just so that we can see a different color from the basic white garments that we normally use. If you had, like if this character didn't have view thems and you have a single texture, you could just like the character go heater, a texture maps. And in the same way that we did the texture chapter, you could just plug in all of the textures to get him ready. Yeah, that's pretty much it guys. This, for this first video of this new chapter. In the next one, we're gonna start working on the plants. So hang on tight and I'll see you back on the next one. Bye bye. 26. Pants Block In: Hey guys, welcome back to the next part of our series. Today we're going to continue with the final project, the final part of the carbon creation. We're still gonna have more content. There's another extra chapter, chapter number six, which is gonna be the chapter dedicated to bringing the clots out of other firm, marvelous designer and into other softwares such as maya, Blender and marmoset to create some nice renders over there. This is the character I lived in the avatar. We already have the arrangement points. So now let's get to work. We're gonna go here to the government section. I'm gonna select the spans and just get them in there. Now the most important thing when you want things to fit and not collide as much, try to get the lowest point. In this case, the the ankle to be inside of the volume, it's a lot easier to bring this up, like bigger parts on the top instead of the character. Then to do the same thing for the ankle due to the collisions. If we do this and we simulate, as you can see, the officer or not where they're supposed to be visited. Very easy to just pushes out and there we go. Now, one thing that I know this and you're gonna be noticing this as well on your projects. Is that due to the way I built this character, he seems to be linear a little bit forward. He's pushing his butt back. We're going to have to tailor our suits or are the garments to this type of body. So as you can see back here, for instance, I will definitely like to have a little bit less like a cloth or less amount of clothing. I'm going to go into my, it transformed points, segment. Grab this guy and just push it in a little bit. That's going to of course make it a lot smoother closer to the character. There's always going to be a gap where the way I'm not sure if we've talked about this governance, but it's straight here on the team. Thinks on the model itself. Might be the skin off, so thing, we can reduce that or in the Cloud as well. There's another option here. Here, the thickness collision that we can bring this thing lower and lower, and it should work a little bit better. However, I think for this, especially for games and stuff, tends to look quite fine. Let's add the belt. He already has this thing going above the line where I would like the bell to go. I do still think this a little bit too low. So let's bring this up. There we go. Not the only problem is we're getting a little bit of extra elements, right? There are like start cloth. We might need to again grab this point, keep it high but make it smaller over here. So when we do this there we go a lot tighter overall. The high point, we might need to convert it into a princesses or something bad and think it's necessary. Let's just go over there. Now what I'm gonna do is I am going to grab all of the segment points, the top segments of the pants. So that guy, that guy. And we're going to right-click again, right-click and we're gonna say offset as internal line. And I'm gonna say 60 millimeters. So that's sort of a thick belt that he's gonna have right here. And that's it. That's going to be the line for my belt. If you want, you can cut and sew deadline. No problem there. I think it might look good, so let's cut and so it's gonna give us a little bit of fun of an indentation right there. Now, usually for instance, on the sides of the pan. So if you're wearing jeans right now, I I invite you to look down and see it usually on the sites of the pants. We have this a very little thin line that that creates like a nice little border. And I think I want to add this on this paths as well. So I'm gonna grab the outer edge on the front pounds. So this front panel, so outer edge of the front panel. Let's garden So this because I don't want the line to go into the belt. So that's why it's a good idea to cut the elements. And I'm going to select this line right here. Again, I'm going to offer this internal life tends to be really small, so I'm gonna go ten millimeters and hit Okay, it's going to give me a nice little effect right there. Now. I'm not gonna, I'm not gonna, what's the word? I'm not going to I don't want to oh, my God, my mind just got completely completely frozen or it froze completely. I don't want to call it this. I wanted to keep this thing here because we're going to be sewing on top of this. I just wanted to strip, I want to get the strip out of this piece. So what I'm gonna do instead is I'm going to Control C, Control B, this guy. And then on this new guy, I am going to cut this piece. Here, we're gonna cut. And so that way we could just delete this piece right here. There we go. And we have this very nice thin line right here on the side of the character. Now, if it has any, any sewing, which I don't think it does right now, you need to delete them to make sure that this does not create any problems. I'm going to Control C, Control R. Bring it over here, select one, select the other right-click. And we're going to symmetric pattern with sewing. And now we're gonna show this thing with segments sewing and back to the little line that we have here. Actually, instead of that, we're going to use a free sewing from there to there, from there to there. Then from there there there there there some of you might be wondering why did not, why wouldn't we use something like what's the word? Like a clone overclocking under, we might get a different result. I prefer using this method for this particular element. And again, we'd go side. We go perfect. Now when we add, now, as you can see, the little lines are all the way down here and it might create some issues with the simulation. One very quick thing you can do is you can just select this guy right here. Like select this guy right here, and then select a ****. So like this one and say Align. Then, sorry, it's not, it's not a line, it's there. Where is it? Superimposed over and superimposed on there? I'm just going to bring this thing. That's fine in this case. Let's make it easier. Just hold this thing up here. This thing up here. Now when we simulate that little like an extra band is gonna be sewn into that piece. Now, as we know, this two bands are going to need a lot more particle density. So we're going to bring this all the way down to like five. Because otherwise we're not going to get enough, enough detail and now see how we get that nasal like puffy lying on the side. It's going to make our bands look at Rayleigh really, really cool now, you could add one of those on the inside as well if you want. I think I'm just going to keep mine on the outside, but I would like to add it on the lower part of the belt though. I'm going to grab the belt and we can sew it together. That will be an option. Pondering whether that's a good idea or not. Now let's keep it like this for now. I think we're going to add it on the, on the top. Instead. I'm going to go into this guys right here. Again, select the upper edges, right-click after this internal line. Ten millimeters is fine. There we go. Now, this one, this one I'm actually going to call them, so right-click codon. So now for this one, just so you guys see the difference, we're going to use the clone over, under, Right-click clone over layer clone over. Of course, when we do that, right-click layer clone over, when we do that, what's gonna happen is they're gonna be puffing out a little bit more as well. Because we're gonna get that nice little symbol there. Important thing to do as well. Grab all of those guys. The new ones. Right-click. Wait, are we missing one yet? Where do you see why here? Learner club over. There we go. Grab all of them and lowered the particle distance again to like a five or something. When we simulate, we get that nice puffy effect on the border. Yeah, that's, that's the first That's the first little detail. Now, another detail that I would like to add here on the pants is usually in male pants. You're gonna have the separate right. Let me show you here. So it's this sort of like a zipper and stitching that we have here and walk when we go to the bathroom instead of pulling our pants all the way down, especially when we're pin, which is P through that we'll soon hold that we have there. Now, the whole, as you can see that they're usually extends a little bit farther to the side, as you can see here. So the zipper is usually hidden in-between those lines. So there's like an internal line over here. I'm gonna do a little bit more like genes. So we're gonna have the shape on the outside, so on this part right here. And we're gonna do the same thing. So I'm gonna go here internal line. Let's go look about their control under this. Go. Like they're just hit Enter there we go. Probably need to move that point a little bit more. I'm gonna go to transform point segment. Let's that point out a little bit more. There we go. So this side looks really, really nice. Same trick that we did before. I'm just going to copy and paste this thing like that internal line codon. So that's gonna give us a little shape here. This guy going to bring it to about this area. We're going to use a free sewing. So this thing that air while living the little gap on the front. There we go. I'm just going to leave a little gap there, kinda open right now it's it's quite open. We'd like to make it a little bit less open, to be honest, I'm gonna use my transform point. And let's see if we can make this a little bit shorter. That's going to, of course, straighten it up. There we go. That's a little bit better. Now it looks a little bit too straight. But maybe if we give it a little more particle distance will look a little bit better as well. It looks a little bit. The cool thing about this is we can actually grab this line right here, the curvature and just push it a little bit out. So they kinda goes over to the other side. That way we save a little bit. So you can see that the stitching that I'm going to turn off internal lines. We can appreciate that the cutoff, the elements a little bit more. I think now this is a little bit too low. So again, I'm going to go to my Transform point segment, and let's actually too high. So I'm gonna bring this down and bring this down as well. There we go, Much, much better. Now again, if we check the reference, there's usually a seem right there on the inset of this thing. So I'm gonna grab this guy. I am going to again after this internal line, this case, I think we can go a little bit smaller, so like a six millimeters hit. Okay. Then we're gonna call them. So the line, this one, we're going to layer over that. We get that again, that little puffy shape right there. See, cool, right? Not bad, not bad for this, for this first section. Now, pockets, I'm gonna do pockets, the side pockets for now. As you can see, we have this side buckets and this side pockets are sown in the insulin into the inside of the pens. We're gonna be doing this pockets on the next video, which are a little bit more. I wouldn't say difficult, but they're slightly different. But we need to do this pockets first. So the pockets, as we know, are gonna go roughly are usually from the belt binds to this side seam right here. We're going to use, we're going to do something very similar here. I am going to create with my internal line. Let's say. I'm going to say from there I'm going to want to have like very straight buckets, like military style, Something something like this. Going to stop on the seam right there. There we go. Yeah, Those look cool. Now I do think I'm going to change the curvature now that I see it, I'm going to give it a little bit more curvature because I do want them to be a little bit bigger. They did seemed to be slightly smaller right there. Let's go again interference from point segment and just move the segment up. There we go. That's a lot a lot closer to what I would expect. Yeah, that's gonna be my internal light. Now, this internal light, we actually do need to do something about it. Here's what you're gonna have to the site, though. I want this character to be able to put his hands on the buckets, or do we just want the pockets for decoration? I think this ones we're gonna leave for decoration. If you wanted to build the inside of the brackets. Just think about this. We need to create another layer on the inside and then make sure that everything is sewn together. So you can imagine that if I were to create a polygon shape right here, will have to create the pocket. And then so this bucket to the backside of this thing, then we will have the internal pocket. I don't think we need that right now for this internal for the shoulder. I think we're just going to add the little line there to make it seem like there's a pocket, even though we don't have anything. Grab this guy, right-click and we're going to extend trim tool pattern outline to make sure that we hit the pattern outline. And I'm going to grab this line right-click and we're going to offset this internal line or right-click. Well not okay. I think we're gonna have to cut this piece out. Right-click codon. So there we go. So the pockets and out, out on both sides, this will be the bucket. So again, this is the thing that we would need to extend. We need to extend this and create a little pocket there. I don't think we want to do it right now. Let's go to the pattern. Grab this line, right-click and again, officer, this internal, There we go. Now this one we will go ten millimeters heat. Okay? And that's the line of the bucket that's getting built into the element. What else can we do here? Yeah, officer that, so again, Control C, Control B. Going to bring it down here. Sorry, sorry, sorry, sorry, my bad. Getting this stuff mixed up. We're here. We got the second again right-click codon. And this little piece that we have here, Let's move a couple of things around. A little bit more space. You can see we're gonna have to do the same thing over here because they're not linked. So this guy cut and sew. It is God's perfect. Okay, so just grab both of them. Right-click. Layer over. Let's keep them close. And again, we're just going to start moving some patterns around too, to keep our workspace organized and know which one is, which one is down, because that's the problem. We're going to have a lot of little things here and there. But that's exactly what's going to give us this sort of effect. There we go. So as you can see, we have that and of course, we select the upper ones. We only need to select the upper ones. We don't need to change the particle densities on the lower ones because not gonna, we're not gonna be seeing them. And we're going to hit simulate. It's going to pop them out a little bit. And again, it's going to simulate the fact that we have pockets over there. And yeah, that's pretty much it, guys. I'm gonna stop right here for now. And in the next one we're gonna be talking about the, the other types of pockets that the boxes are shown into the, into the character. So hang on tight and I'll see you back on the next one. Bye bye. 27. Pockets: Hey guys, welcome back to the next part of our series. Today we're going to continue with pockets and the packets are fun. We're gonna go back actually do talking about please if you remember them from a couple of chapters ago. So let's take a look at the reference real quick. Oh my God, I hidden you like Windows thing. It makes something weird. As you can see here on the top we have the store like a Velcro pockets. It's another button, this is more like velcro. And they have a, a plate here on the inside. So this is something called a box bleed. And they box bleed comes from combining two knife, please. So if you guys remember our plead session, we mentioned that if you have a piece of fabric and you fold it and then continue. So three sections like this. It's first section, second section, and then third section. And of course you, so this guy's together and these guys together, that creates something called a knife, knife belief. And if you combine a lot of this knife bleeds, well, you get the pleated skirt similar to what we did before. Now, if you were to grab this thing in the mirror, it to the other side, you will get this thing which is called a box bleed. It follows the same rules. It's the same basic thing that we're gonna be doing. It's just called a boxplot. So that's what we need to do. We need to create the pocket and then we're gonna do a buck split here on both sides. The good thing is that this guys are symmetrical. So if we grab our internal rectangle shape, Let's add it right here. We're going to create a box pocket that seems about right. Let me just position it a little bit lower. Just grabbed the sections here. Go to my transform point segment. There we go. Double-click, there we go. So I would say right about there, maybe a little bit more like horizontal. And yeah, that's, that's gonna be our box bucket. So I'm going to select the pattern right-click and we're going to clone this pattern. Let's move it down here for a second. Now, of course right now is gonna be all the way up here, which we're going to have to move. I'm actually gonna start moving it already. If you guys remember when we were doing please. When you do a plead, you need again three sections. The three sections are super, super, super important. So we need to create our boxplot from this section right here. Now, I don't want to do the whole section because if I did a whole section, then the police is gonna be like super, super long. It's gonna be like a super huge pocket. So I'm gonna go here to my Add Point. Splines are actually just select this. We're going to split this thing in half. So split, split. Let's do one, okay? Then we can just do internal line. There we go. Of course, codon, and we delete one of these pieces. Now from this new piece, we're gonna extend offset as pattern outline. We're going to extend our pleats. Here. We're going to decide how wide we want to go. I think we're gonna go with ten millimeters now, probably little bit more. Let's go 20 millimeters. I'm going to say 20 millimeters. We're going to create internal light. And of course we're gonna do a couple of more like this. Three very important, super, super important that this piece right here, this first species, only half of the pocket, okay, do not go further or higher because then when we saw it back to the square root, we have there. Things are gonna be looking really, really weird. So I'm going to grab this line now, right-click and we're going to unfold, of course, and this is going to create depletes. This big centerpiece is going to go back in space. And then this things are gonna fold on front of it. And we're gonna show all the things together should be fairly logical, but it is a couple of steps that we need to follow. Now one of the good things about this is if we do this once, we can repeat this pockets as many times as we need so that we're gonna use our pleats tool. We're not going to be folding this by hand, so we're just going to run the clauses double-click and we're going to select a box bleed. Now there's a couple of things that we need to take into consideration. First, how many lines do we have for each split? You might think, well, it's three for plead. No, it's two per pleat. So we're gonna change this to two. So we're gonna have two per, per, per, per pleat. Then we need to select a which one's gonna be an inside fold, in which one's gonna be an outside folder we wanted to plead to be on the outside of the element or we wanted to plead to be on the inside. In this case, I wanted this to be on the insights. So as you can see, by default is going to try to create the plate towards the outside. You can see that the outside folds is gonna be red. This one right here. And we don't want that. We want the reverse direction. There we go. Actually not to think of it. We're, we're, we're falling here where the tooth let me just make sure that we're right there. Bucks, please. And yeah, and we're gonna hit OK. Working. Let me try that again because it looked weird. We should have the red lines on the other side. So this is a boxplot. Again. We reversed the direction because we want the outside fold to be on the outside. And let's hit Okay, now I'm going to right-click here and to make the splits fold a little bit nicer, we're going to remove the gravity. You can of course, lead this flow freely, but my, in my experience, it's a little better if we just turn off the gravity. I'm also going to select everything here, like the pants. I'm just gonna Control K to freeze them. Now if we simulate, you're gonna see that bloop, we get the belief that the blue is looking nice. We're getting more distanced on, I thought we're gonna get though, which is a little bit of weird, should be getting only like half the distance. Let me go back a couple of steps here. Let's go here again. And let's again often this pattern of Scotland, Let's do two segments instead of three hit. Okay? Now we're going to unfold. There we go. Now it looks a little bit better. Let's try this again. So pleats fooled, double-click, box pleat, reverse direction. Two segments. There we go. That's what I want to external lines and then, then the internal light and hit okay. Now again, if we simulate group, we get that nice little Fulbright there. Again, I'm going to grab the whole pants and we're gonna Control K to freeze them. There we go. This is a pleat, as you can see, the bleed this as like behaving the way I expect to plead to behave. We're getting this is a very nice effect, but we need to change some of the sowing lines. So we're gonna go here, two segments sewing and we're going to sort this line to this line, see that? And then we're going to solve this line to this line. Same thing on the bottom side of this line, to this line, this line to this line, as you can see, it's to the outer edge. Very common to forget about that one. Let me change this simulation appropriate skin. There we go. Then this is the important part. We're going to use a free sewing two. So this line to this line, we need to do the, the external line as well. Let me try that again. From here to there. There we go. From the bleed in and from the bleed out, from the plate in, from the plead out, from the police in from the plea out. Perfect. Now when we simulate that, then this is where we get. And as you can see it, we get this very nice effect. You might need to increase the particle distance because it's this, again small p. So let's do ten and simulate it again. Just pinch, they're a little bit free gravity so it's flowing all the way. But that's it. That's gonna give us a nice little plead pocket. And of course it's going to give us a little bit more space on the inside. So that's what's gonna give us this sort of effect that we have here, like the inner line going on the pocket. Of course now we need to show in the pocket, but we don't want to. I mean, we could so in the pocket just asked is just like this. But if we do that, the problem is that there's not gonna be a lot of room in the pocket, right? So even though it would be perfectly valid to just show this pocket into the square shape right here. We're going to extend the borders. So I'm gonna grab this guy right here, this guy right here at this guy right here, and this guy right here, right-click and we're going to offset this pattern outline. We only want one section, of course. Here's where we're going to decide how thick or thin we want the pockets to be. I think 20 milliliters might be a little bit too much. So I'm going to go back to ten millimeters. So I just want a little bit of room on the pockets and going to hit Okay. Now the problem here is that at the sewing is if you remember, we had some sewing lens here on the inside, so we need to just clean them up. I'm just going to delete that one and that one on the top. It's fine. This ones on the bottom, we need to rebuild. We're going to again go to our free sewing tool. We're gonna go from deplete in and from the plane out on the edge, on the astronaut on the board there on the edge from deplete in and from the police out. Perfect. Now of course, oh, actually, I messed up here. There's one option when we offset the lines. One option that's called corner like free corner. Right-click again offset as pattern outlet and this one unfilled corner. There we go. And script battery life, or at 1234, Right-click of the parameter. And it's this unfilled corner. Very important to do that one because those are the corners that we're gonna be sewing. That should be pretty straightforward. We're just going to solo those two lines together so that one and that one. Now here this one's be careful. Those are the ones that aren't mess up because it tried to It's kind of like extrude the sewing lightning. We don't want that. We want to keep the starting line on the top border right there. So again, free sewing from the police in, from the outer little blue dot. We know why that blue dot is important. There we go. Now, one more thing here. This is something that we haven't really talked about, but it's really, really important. Every, every SIM wherever reward there you have a referral you have will have something called the full angle. So as you can see, this has a fold angle of 180. The fault angle dictates where the line is going to be going. In this case, since we want the fault angle to be going back to create the depth of the pocket. We're gonna be changing this fault angled down to 0. Very important to do that. So now when we hit stimulate, you're gonna see that we create this nice little box which is gonna give us, well, of course, the volume for the allotment. If we were to leave the folding angle, add a hard and AD it's just gonna be flat. It is gonna show them things, but he's gonna try to keep it smooth throughout the surface. And of course, if we go through 360 is going to fold it to the other side. Again, if at any point you need to switch the way your fault or any edge on your under cuts is working. Make sure to select it and change the fault angle. Very precise particular detail, but it's part of the part of the drill. Yeah, there we go. Now, of course, what I'm gonna do here, I'm going to say Control C, Control R to mirror paste another pocket on this side. And we're going to live link them, are linked to anything I always say live link. Think about Maya, right-click and symmetric pattern with toys. There we go. That's the thing that we wanted to keep the pocket down here. We're going to show this, of course, free soloing. We're going to sort the board there. To the board of there. Then we're going to show in your other border to the other border. Half of the pocket, half over the pocket. And the other half of the pocket. The other half. So you have to plead doesn't play any role in this thing. And that's why we had to keep the same half distance up the pocket when we were building this otherwise, now that we're gonna like so everything together, things wouldn't work. I'm gonna grab this guy right here. I'm gonna click, right-click and say superimposed over. And as you can see, it's gonna try to, actually that didn't work. I want you to just move it to where it's supposed to be. Let's just get them as close as possible. I mean, since the simulation is frozen on the bands shouldn't have had that much of an issue. Let's simulate. And we have our two front pockets are ready. There you go. Puffy nasal detail, a little bit of depth. I know that here in the concept, you can't really tell whether or not there's a lot of depth. It doesn't seem to be a lot of that, but I think it would be a nice addition to show you how to do the depth. Now remember at any point you can just delete those little things and keep them really pretty flat. I kind of like this sort of effect right here. Now, as you can see it, this guy's, they do have a couple of stitches and stuff, so let's do them real quick. I'm gonna grab This guy is right here, the square. I'm going to right-click and I'm going to say after this internal line, that seems about right. So That's it. So eventually when we do the layer cone over and give this thickness, those are all lines are gonna give me a little bit more detailed on that on the whole thing. Now for the flat on the top right, and I don't want this, this sort of like a bulk rho Velcro flap. We're gonna go here to the Polygon Tool, polygon draw tool. We're going to start here. Let's go down. Then. I would say like about some of the insights about there. And then out of the 45-degree angle, and then up there. Now if the points are not aligned, we know that we were strike click Align to point our x-axis. There we go, select this line and the voltage. So that's gonna be my little cover for the pockets. You can see we're going to see a little bit of the corner there. That's fine. Something that we want to keep in mind is that we need to have an internal line, this wall. So actually, let me go back. Gonna be a lot easier if we do it here. I'm going to go the internal lines routes instead. The flub is gonna go there. About there, there, there, there, and there, there we go. Same deal. You can also unfold and internal line, which is fine. And now we're going to right-click this and we're going to call this pattern right there. Then this is the pattern that we're gonna be working with. So as you can see the pattern here, it has the Velcro thing. We're gonna be using a pin to simulate the bulk up because it's not something that we're gonna be seen. But you can see that you can kind of visualize averse the seam on the outside, which is important, but also like the square squarish velcro, velcro pack. I'm going to select the whole thing. Right-click. Officer, that's internal line. That seems about right. And then we're going to use our internal rectangle tool. Let's create a nice little rectangle there and move it center. There we go. So it simulates the bulk tap, right? Yeah, that's pretty much it. That's the little flap. So now the only thing we need to do is I'm going to, first of all, control, Control C, Control R to copy the flop on this side, like one. Look one. Right-click. Symmetric pattern was sewing. There we go. We're gonna free so or just segments. So actually that's free. So because we have 2 second end points, so free sewing from 1 to the other. From 1 to the other. Let's bring both patterns up a little bit closer and that simulate, That's it. How are little elements right there now, you might say, hey, you know what? It's looking, okay, but I think that the patterns are a little bit too small or they're too low. No problem which has grabbed this internal pattern right here. We can make it bigger. We're not bigger, but probably just like lower it. Because if we make it bigger, we're gonna have to make the other flap bigger as well. Now if we want to do that, just make sure to grab both of them. Let's make them a little bit bigger. That was just a matter of making sure this thing is a line. There we go, and we stimulate it again. And now the flip is going to be a lower. Perfect. Now the little square thing, little square tab is, wait a second. Why did that thing move? Let's go back. Something like we didn't select, like we selected the internal shape instead of the other one. So let's, I'm just gonna move this down. There we go. So we seemingly it again. And there we go. So the little, a little flub is gonna be up. Now let's give a little bit of detail to this guys. I'm gonna grab this guy right here. Is that just going to grab the whole thing here, I'm going to right-click and say Clone layer, layer clone over. Let's bring this here. As you can see, there's gonna give it a little bit more like puffiness to the whole thing. Actually, let me select both elements. Again, Right-click layer clone over. And that's it. When we simulate those blocks are gonna look a little bit better. And we can grab all of the pants. Hit Control K to our phrase. And we're gonna have our cargo pants with those little extra pockets are ready to go into battle. It looks like we have the little bug brokers stuff and you guys remember the thing that we did before, so we can grab it. This guy right here, like the whole patterns. Let me just try and why am I drink to grab the pattern that's there we go. Grab the patterns. Let's change the particle distance down to ten. That's of course going to give me a little bit more detail. For instance, I can grab this internal line, this pattern, and change the shrinkage weft to 105. That's going to give me a couple of more wrinkles as well. So it's gonna, it's gonna come up, push it out. So it's going to again, look a little bit puffier. I'm definitely going to do the same thing here for the pockets. So I'm gonna grab both pockets. Right-click layer clone over. I'm gonna plays down here. But that's also going to give me a little bit more detail. It's gonna make them a little bit puffier as well. That's like I think that you want to, you want to look for it because otherwise you're gonna have to be doing this detailing inside of ZBrush or other softwares. And if you can already get this sort of effect here, I think it's, it's really, really valuable. Let's just push this thing a little bit. That's the, that's the plead like working a little bit weirdly. Part of the simulation problems. There we go. Now, before we move on, let's change the fabric. I don't think we have a I don't think we have like a military fabric. Military no, we don't. But it's rather easy to find one. Give me 1 second. There we go. I'm gonna go to the fabrics here, and I'm going to look for Denham. I'm going to bring in like a basic, like Dennett, just this one right here, 100% debt and there we go. So pretty much every single part of my, of my elements gonna be denim. So we're just going to assign that dynamic effects so that we get a little bit of texture that's super, super cool. And then under dynamic, we can go to the texture map and Andhra folder files on Chapter five included this military pattern that we have this sort of effect, as you can see the normal map that we had from the dynamo effect. It's gonna, it's gonna make it look Quite, quite nice. I do think the pattern is a little bit too big. So I'm going to ask you any piece going to texture. We can edit the 3D texture, make it a little bit, a little bit bigger. There we go. Yeah, that's, that's pretty much it for the buckets. Now of course this count flushes. Maybe it's a little bit too much. Let me see if we can change the saturation. Ooh, I like that. I think that looks way better. That way we can appreciate the detail that we've included on the pants because I think the other color was pretty distracted. So yeah, they're the saturation there is going to really, really work. We can again play a little bit with the elements. Maybe this is like a snow, snow effect or something. Bertha, yeah. I think I don't want the pants to be a little bit bag year on the bottom side. So let's establish simulation. Let's get back to patterns. Bring this thing down. I'm probably just going to like the lines on both sides. Just make them a little bit bigger. Probably a little bit bigger here on the inside as well. I just want them to load back here on the bottom side. Would yeah, that's that's a problem. Yeah. So as you saw there, it is working, but we also need to bring these little lines are the lines that we did. We also need to bring them down because otherwise they wouldn't match the we're gonna start getting some crumbly effect that currently affect that you're seeing there. That's a that's a sewing problem. Yeah. Let's let's keep it the other way. We can do it that we can do it. It's just we're gonna have to move a couple of things. And I think it's better if I show you a couple of other elements before we finish this lesson, guys, one thing that I wanted to show you. There we go, is how can we recycle this pockets? Like we created this amazing pockets here on the front. I want to have two more pockets here on the back, but I don't want to go over the whole thing again. Like I don't want to I don't want to do all the same stuff. No problem. The only thing we need to do is we need to copy these patterns to the back. To do that is just a matter of grabbing the patterns, hitting Control scene and saying controlled B. Over here. You can see we definitely need to find the proper position for this guys. I'm just gonna be like closer to the center. I'll say probably about there. That seems, that seems like a good, a good position. And we're gonna grab this guy says, well, look this whole thing. Control C, Control V. Just go there. Technically, technically, this thing should be working perfectly fine. The only thing we need to fix are the free songs. So let's edit the swings and this outer lines. So we have here, well, that's part of the main lines of the main plead. It shouldn't be sewn onto anything else. Technically, again, we should be able to just grab this thing Control C, Control R. Let's go over here. Let's start linking them. So right-click, especially the first one, that's the, that's the most important one. Symmetric pattern with sewing. Because those are the ones that are gonna be sewn into the pockets. This ones are gonna be like automatically sewn to where they're supposed to be something. So same thing for this one, like this main pattern right here. Let's right-click and so much bandwidth sewing. There we go. Now free sewing again. We're going to sort the side of this guy, this back pocket, side of this guy. This back pocket. Then half of the pocket to half of the pocket. And the other half of the pocket. The other half of the bucket. There we go. Of course, we're going to show in the top part here the flap. Flap. Cool. Now again, to make our lives a lot easier, the best thing we can do is just grab this whole pocket. The 3D view. A little bit. Nicer. We are, we are with the simulation. The nicer this simulation is gonna be with us about. There should be fine. Grab this whole bucket right here. Bring it back. And bring it up. Again to make sure that this thing works as nicely as possible. And Minecraft the pants Control K, freezing. There we go. Freezing the transformations is really good. When you have really complex simulations. Just to again, save yourself a little bit of work, I'm going to save just in case anything crashes here. And let's emulate. There we go. Back pockets, right? Yeah, That's as I mentioned when we talked about this before, we were doing the pockets. If you do it once, you can just copy and paste this buckets as many times as you want and you can actually export this government or say this is a garment. So now every time you need a pair of pockets, if you just grab this one and that's it. You only have to do pockets once. And that's it. I've seen several artists have a collection of a specific pieces, like different types of pockets. And that way they save a lot of time by just importing them every time they needed. Yeah, that's it, guys and said for this part, the pockets part, and in the next video we are going to do a very quick shirt. What she's gonna do a very quick teacher. It's gonna be a small video just to give him something else on top here. And then we're gonna start decorating with all of the remaining accessories that we need here on the path. So hang on tight, LLC back on the next one. Bye, bye. 28. Military Shirt and Belt: Hey guys, welcome back to the next part of our series. Today we're going to continue with the alien, with the military support thing. Again, part of our story. They're still all the things that were missing from the pants. A couple of extra elements that I want to add. But yeah, if you take a look at the one of the reference images I added to your chapter folders. Here we go. You can see that the shortest, very simple shirt, It's just a typical shirt. It has a couple of more like false. I think it's like a little lighter, I would say. That's a very typical shirt. So that's what happened. Going to binding this chapter with the, with the belt as well. We're gonna be working on the belt. There we go. So for the shirt, it really makes no sense to start from scratch if we can just grab this guy right here and add it to our character, so hit Okay, and there we go. We can definitely use our attachment points as we've used so many times before. We're just going to start to the attachment points. There we go. Yeah, everything seems to be nice. I'm gonna grab both of the back pieces, just bring them back. Technically again, if we simulate, thanks should work fairly nicely. A little bit of overlap here on the shirt. I think we can just get it out there. There we go. I definitely want this shirt to be tucked in inside of the pants and we already know how to do that. It's just a matter of grabbing the shirt. Let's move it up. I'm going to go over the whole pens here, surround stimulation on the layer. Let's change this to layer one. Now, when we hit a simulated loop, the shirt is going to go inside of the pants and we're gonna get some more wrinkles as well. He was very fit, if you remember from the original concept who was very fit. So why not add just a little bit of a seam line here on the inside? I don't want to do a princess dark, of course, that will look a little bit weird. It can definitely add just like a point there. And a point here on the back. Just create this small dark. Just a small dark so that the shirt fits a little bit nicer. I know that probably in bootcamp, people or soldiers don't get this benefit of having a nice shirt. But the character, so we can do a little bit of this. And that's going to, again, help us with the overall tone of the character. Now, since he's wearing this or late winter, winter coats, we might want to have a white shirt or like a gray shirt. So I'm gonna go again into our fabrics. Unless look for just like cotton. Call them basic cotton fabric. I'm also thinking I'll look at the pictures to see the amount of information that we're getting. Because either one just to be like this one, like a little bit more, not as this one has a little bit of spandex. I like that. So just double-click and there we go. Stretch satin, scrapped all of these guys and apply. Gonna change the way it looks a little bit. It should, shouldn't be that much of a change, but it might be just a little bit. Now, I do want to add a border on the sleeves. I know again on the reference that we really don't have that except maybe on the color, but I think it would look nice. And again, you're always, especially when you're working on your own projects, are always free to, to do cool, Thanks for your character. So I'm gonna go to the sections here, the top section and the back section right-click and we're going to offset as internal line five millimeters. It seems to be a Buddha. Again, I'm at now maybe it's a little bit too little. It looks very thin. Let's go. This internal outlets, ten millimeters. There we go. That's a lot, a lot better. As you can see, it's not going to the edge. That's not something that we want. So we're gonna extend trim to parent outline. Let's make sure we have the same thing on both sides. Yeah, it's on both sides. Now I'm going to cut the seam lines, so codon, so they're not. So there you go. It's almost there. So again, extra extend treatment that point about are outlined. There we go. And now we should be able to console. There we go and select those guys cotton. So this one's called ENSO. Cool. Definitely need more geometry. So I'm gonna grab, maybe not them. This one's gonna grab both of them or all of them, right-click. And we're going to say layer coat over. There we go. Then on this new ones, I'm going to reduce the particle listens to five, because these are the ones that we're gonna be seeing. That when we simulate our guess, you'd like a puffy neck there on the top of the car, like a color. Again, using the little trick that we did before, we can add a little bit of shrink, weft or shrink Ashworth here by increasing yet. So let's go to a 110. And that's gonna give us a couple of extra wrinkles. Could give us a couple of extra wrinkles to lower the particle distance even more. Because we're talking about a really, really thin fabrics. The amount of triangles that we have might be, might not be enough. So let's go all the way down to two. Even then I think that's where we're too small, but it's good. It's good enough for what, for what we want. Now, I definitely don't want my center seam line. That's like way, way too weird for me, especially for a shirt. So I'm going to right-click and merge. We're going to do the same here. Of course here. Since they're not linked, went into grab both. There we go. Let's go to the back. I also want to merge this two guys. I also want to immerse those two guys. And since these are not link, we need to grab both of them emerge. There we go. Now, when we simulate, we go. This seems to be like split. It seems like we've lost the connection. That's fine. Let's just delete it and do it again. Let's go into patterns. Grabbed the pattern, the pattern right-click layer clone over those guys again, let's bring this all the way down to 5105. Maybe let's try Stress something bigger. I know this is gonna really crunch them, but maybe we'll get something nice. Now that really, the problem had said that it's such a small line that's got a little bit difficult. Anyway. Let's go to the, to the to the arms. And we're gonna grab these two lines. Right-click officer, this internal line. Tell me millimeters as well. Make sure we right-click and extend treatment that point pattern outline. Very important. We've got the outline and we're going to cut on, so both of them grab them. I'm going to bring them down. And then I'm going to right-click lyrical and over. Plays him over the patterns. As long as they're in an easily readable position, it should be fine. No need to be like super perfect about it. Grab both of those. Let's increase the particle listen or decrease of articulations against it like 55. That we're gonna have a nice outline there under on the border of her shirts. So again, I know that it's not something that we might find on the official army shirts. I believe looks cool. Now we're gonna go with this guys, of course. All of these guys. And we're gonna change the particle distance down to probably like attempt just to get a couple of more, more wrinkles. There we go. Very form fitting, very cool wrinkles all over the place. The shirt is ready, the funds are ready. Let's grab everything here, bring back the Layer to 0. We don't get any weird lines. And let's create some space here. So for instance, a shirt. Let's move it to the side. Like there. I want to see it right now and the pants, same thing. Let's move it to the side like this. Because I want to see what we're gonna do. The belt. There's a lot of wasted at the belt. Just going to recycle what we have right here. So we already have the belt, this piece right here and this piece right here. It's just going to say Control C, Control B. Copy this right here. Well, actually, we're going to have to do that for all of the patterns. So let's say like a pattern piece, that one, that one, that one, that one. Control C, Control B. And that's gonna be my belt. Now, this belt is gonna be made out of something like a little bit stiffer. It's not I don't think it's gonna be cotton, so I know that they don't use leather. Let me see if they have something like nylon. Yeah, there we go. See that That's a lot stiffer. So let's use the island and then the nylon, nylon Canvas. Let's change the texture. Well, let's see if we can. I'm going to delete the texture. There are no color. Here we go color. Make this a dark, dark gray. We're gonna grab our belt and apply the nylon corner. There we go. As you can see, we're gonna have some nice, interesting texture there. Now, what I'm gonna do is I'm going to combine this element right here and I'm going to merge it. So let's go into segments. Merch, merch. It should be a straight line, but we know, again due to curvature and stuff that's not gonna be a straight light, doesn't matter. It's still going to work the way we wanted this to work. Let's position this thing where it's gonna be, just gonna be on top of everything else, like right about there. The layer, Let's change this layer to one. So this sits on top. What I'm gonna do is here on this view right here, I am going to change the well first let's change the thickness here. Let's display like fixed texture here. And let's change the texture at how thick is a belt? Like five millimeters. I think five of them. Looks good. Maybe a little bit too much less than three millimeters. There we go. What we can do is we can start sewing the different segments back to where they belong. So just go here. And we start on this area. So let's go with that. We can use segments sowing can suit that there, that there, that there, that there, that there, there, there, there. And of course this guy to the back, others, it's overlapping. Okay, So it's already there. Now when we simulate, we're gonna get the belt on top. Just going around holding the clot together. Little bit of overlap here and there, that's fine. That's the gas stuff that we want to bake into normal maps if we're doing this for like he came and stuff. So I'm not too worried about those things. Now what I do see you on the belts and pretty much everyone knows about this or the little loopholes, loopholes through which the belts go. Now for the buccal, by the way, I do believe we had some hardware here. We have some, we have this buccal right here. That's the only vocal we have. Unfortunately. Let's see. We have no that's the only, you can just model one. And instead of instead of Myer or other places and do it, of course we're not going to be doing patterns and stuff for a buccal. But we can do the little square pieces. Again, we already know roughly the distance. It's as 50.350. Apparently. We're gonna go here to the rectangles. It should be a little bit bigger. So we can just click and let's say a height. We're going to have 50 wide. It's probably gonna be just like 20 millimeters or something. That's a little bit too much, even like ten millimeters, 12 millimeters, it looks a little bit better. There we go. That's my loop. So the only thing I need to do is I need to control C, control are like duplicate this to, let's say displays right here. Both of them are going to share the same like military pattern that we have. The usually, usually this guys, let me, let me see if we have the reference here. They also have a little bit of like a sewing line on the outside along the whole thing. I'm just going to right-click and we're going to offset this internal line. It's gonna be just like one millimeter, probably, like two millimeters, maybe. Not too sweet, too much. So let's do one millimeter hit. Okay? It's gonna be like a super, super small effect. But before we do that, it will be a nice and Weiss idea to solve this two guys and say symmetric partners sewing. Now we can do the opposite. It's internal lines. One millimeter. There we go. Both of them should have it. And we're gonna grab this guy and we're just going to free. So this thing, like the top part to this here, right here, the bottom part, Totally this area right here. The layers, of course, like now, again, we can select this guy right here. Bring the Lear back to 0 because we already know that this thing is gonna be on the bottom. Grab these two guys and change their layers. Remember to select the outer edge. We selected pattern and a leader is gonna be one. Simulate little things. We're gonna travel all the way down there. There we go. Now I do think they're a little bit the shirt got out. What do I need to do? A little bit of Lira layer adjustment. I mean, it's super simple. Let's grab the layer. This is gonna be layer a one. No, sorry, the shirt is gonna be 0, sorry. Then the pants, except for the loops here, are gonna be layer one. The belt is gonna be linear to in this case will be layer three. So this guy's gonna be layer two. And now again, if we simulate should be going in, I'm not sure if it's a shirt is not long enough. It's kinda weird. We can bring the shared bag. That's fine. It's a small little detail. Now, one thing I'm noticing though, is that the actually really close to the place, but we need more. And of course these are really, really tiny and in geometry. So let's grab the element and bring this down to like ten. So we have a little bit more geometry when we simulate. There's enough curvature to it to create a little effect. Now one thing I'm noticing though, as you can see, the sewing liners is going. I mean, it does look like the one. There's a little bit of a gap there. It's very noticeable at a distance, but if you want, you just saw it like higher. That might be another option. But for now I'm just gonna leave it like that. We're also going to add some thickness as well. So now I'm going to grab one of these Control C, Control B. We're going to have one on the site. Sorry, let's go to external link Control-C, Control-V. There we go. We're going to have one on the side and then control C, control V. We're going to have one on the back. Both of them. We're going to have symmetrical patterns as well. So Control C, Control R, like this. So this guy is gonna be about there. This guy gonna be appalling with working with super small patterns. There we go. Does one and this one are going to be symmetric pattern with showings. And this one, and this one are gonna be symmetric bound with songs as well. Cool. So again for showing, we're gonna show the top part of this element. Again, this is the belt, so maybe we go a little bit higher. Like to this area here. It looks, it will look a little bit better. Again. From there to there. From there to there. From there to there. This one has to be like instead, go down here to the pants instead of the belt. We go Same thing here. So top, top, top, top, bottom, bottom, bottom, bottom, bottom button. There we go. Since we copied them, they should have the same number three layer. If we simulate. Sorry, you're way too far away. But yeah, there we go. So as you can see, we get their little straps where they're supposed to go. Yeah, some of them are having a little bit of financial like this one's got stuck in the wrong way, so just stitch them together. There we go. We go. The Sherwood went a little bit crazy, but it's fine. That's how we add a belt loops to the whole thing. Let's stop the simulation. And finally, to make them look, of course a lot better, we're just going to grab all of them. Right-click, lyrical and over. And that's going to pop them out. Since we have the internal lines, the internal analysts are gonna give us that nice sort of like so in effect, they're on the inside. We can also increase the particle distance as well. In my simulation, as you can see, it's getting a little bit slower and slower. It's it's kind of like part of the process. I'm just going to stop it right now. You can change the GPU mode. We've talked about that before. I don't think it's needed. There we go. Now one thing that we can do, since now everything is supposed to be on its display. So we can just grab all of those guys, set the layer to one, and then grab my shirt and set the layer to 0. That's fine. And let's try to simulate again. Let's see if that. There we go. So you can see that the shirts is going back to its place underneath the pants. So there we go. Let's be hearing a lot, a lot better than where we are allowed closer to what we want to start this relation. There we go. Or pants are looking quite nice now, we can have everything again and just bring the layer back to 0 so that we don't see any blue lines. Let's start off our avatar for just a second and look at that. Not bad, not freaking bath. A nice easy shirt. That's an easier one than then. The pads are in here. As you can see, it's not a lot of time. We've been working on this for about an hour, I would say and I'm weren't married in a really, really good position. So I'm going to stop the video right here, guys. And in the next one we're gonna be talking about the knee pads. So hang on tight and I'll see you back on the next one. Bye bye. 29. Kneepads: Hey guys, welcome back to our next part of our series. Today we're going to continue with the knee pads of your character. As you can see in the reference this or the knee pads, they are just a plastic thing that sewn onto the until the remaining parts of our, of our character. And as you can see, there's actually like a pocket. It's got like something that's sewn on top of it. It gives you a really nice effect. That's actually like another pocket there will add it later. But yeah, it's, it's this thing sown on top of the elements. And I think having like an extra layer of cloth is also going to make everything look a lot nicer. Let's do it. Let's start working on this. I'm gonna grab the shirt Control K to freeze it. I'm actually going to freeze everything to be honest, because we don't need to work on anything just like we don't need that to simulate anything, everything appears as nicely stimulated. So let's go here to the front view. And I'm going to create another like an internal shape, internal like polygon or not not polygon internal rectangle. And we're gonna go right about there. Yeah, that looks cool. That's a little bit too low. So let's just move this up. Let's see if that looks a little bit better. Think a little bit more. Because the knee pads gonna be right there on the center. That's where we're done. Es, so that's the, that's the piece that we want. Perfect. I'm gonna grab this guy right here, right-click and you know the drill, we're going to clone this as pattern. Let's start working on this, on this side over here. This is gonna be the pattern. We can actually have a different cloth. I don't think that's gonna be at the end of the world at my Luca. Good to have like a little bit of color patterns. I know it's not as efficient as for a camouflage, but for our concept, I think it's going to look cool. And later on we can just change the canvas if we don't like it. Let me see real quick before we continue. Always, always save. And the one thing that I recommend as well, here, I'm going to do it. This will save like different versions. So for instance, right now, this is my alien uniform. Uniform. I'm gonna save this as and I'm gonna save this as underscore 0 to the other way. If for any reason my uniform from this point on gets corrupted, the file gets corrupted, I can recover it. It's a really good habit that I would strongly recommend to everyone. So I'm gonna go over everything here, right-click and we're going to offset as internal line. Five millimeters, I think is good. Hit. Okay. And that's gonna give me this line that we have there. It's part of the sewing line that we can expect on the element. Now here on the Insert, Here's where we're going to create this shape right here. And we're gonna be using our internal polygon line. I'm going to go there. And then when they press and I click my first bond right here, I'm going to right-click, as you can see, we can actually turn something called mirror creation. And if we turn it on or we're gonna be able to mirror creation, the whole thing. I'm going to go here. Let me go back. Center. It goes out. Again. Center. There's a little bit of curvature. Then we go down. Then center under here I'm going to say mirror. The axis is going to be x-axis, y-axis. There we go. I keep, okay. And just hit Enter. There we go. Now we have this pattern. Now, I don't love this one right here. I'm going to right-click and say, Let me see if I can delete that point. Right-click. Delete points. Let's just move it. So I'm just going to use transformed points segment. I was like, okay, I mean, another thing we can do, the mirror function is great, but I think right now it's making it a little bit more difficult. Let's just go back and use the full function instead. Grabbed the two points, right-click align to point x, y. Now we just unfold. That's gonna be our knee path shape, right? This is where we're gonna be creating this shape right here. As you can see, this shape right here is it's a plastic shape, but we already saw that we can do armor. So if you think about this as leather, it looks very, very similar to the letter effect. Now, I do think that this thing is right here, even though we could model them with patterns and stuff. I don't think we really would like to do that in here and we're probably going to be using normal maps for that later on. I'm going to right-click here and here regarding right-click and say, that's really weird. Click and colonist pattern. There we go. It's going to be our NOPAT right there. So this isn't the pie that we're gonna be working with. Let's increase the particle distance a little bit. So let's say ten. Of course, this thing is going to be sewn into this other element right here. And it's just a matter of giving you a little bit of shape. We can add a new material. I'm going to make this a dark black material. Let's add it. And of course on the thickness here for the fabric, remember, let's give them something that's like a, like a big path. We can even go like really exterior extreme. We'd like to look at ten. There we go. Now, the only thing that we need to do is of course like so this thing together. But as you can see, we do have some internal lines that look pretty cool. I would say I would like to add them. So I'm gonna go here to my internal polygon lines. I'm going to add the 12 entry. And what we can do is we can actually codon solium cotton, cotton and cotton. So that way as you can see, we're actually going to get some detail right there. Like solo a couple of polygons, like extra polygons there on the thickness that are gonna give me this sort of interesting effect. Again, as I've mentioned, for this guys, I will definitely, definitely mall them or add the normal lab and other places. But I just want to show you a quick little way in which we can add them right here. Now, It's just a matter of free sewing. So we're gonna say free sewing. And here's the tricky part. Let's so in the top part first, or actually, let's go from the middle to the point, or rather from this point down, from this point down. Then from this point down, from this point down. Let's do little point click, point-and-click. And I know that might seem like a little bit tedious to do it this way. But I think one of the best options, if we want to keep our sowing lines. Let's close as possible. There we go. Now, of course, let's turn off gravity again. Assimilation properties. Actually we don't have gravity. We simulate, as you can see. Let's reset. Let's bring this pattern out. Again. Remember that come like a mantra. Help the simulation. It will help me. There we go. Now, I don't think we would need to. What's the word? I don't think we need to do any layer over or layer under for this one, it will be like way, way too much to be honest. Yeah, it's just a matter of now going again into, into free soloing where we want this on both sides. So before we do that, let's Control C, Control R to mirror paste. This two guys right-click and we're gonna say my compartments showing, I'm actually gonna grab this guy. I'm going to do a lyrical under that we get the nice little border effect. Now I'm using, oh yeah, yeah, because this isn't a nylon Canvas. This is the one that we're using for the for the for the belt. Okay. I'm just gonna copy this. I'm going to remove the thickness, 0 thickness. Let's grab those guys. Let's grab this guy's. Select this guy and apply. Let's rename it. Let's call this. Great. We should be able to really weird. It's not letting me bring the thickness down. Okay. No worries. Let's just just the other cloth then. The camera flash or we could just bring the other one again. There we go. That's thinner as you can see, we do have the two sandwich effect. Now of course, we need to show in the bottom part because this is the other part that's on the back part. We're gonna free. So the other part, to the pocket size or the pocket places. Here we go. Let's show in this part swell to this other pocket right here. That's cool. Again. In this case, since everything is frozen, it shouldn't be that much of an issue which is just simulate. And as you can see, the pockets go right where they belong. Now here's where we're going to define whether or not the knee distance and they seem to be just a tad bit lower, just a tad bit. So what do we move? We only moved the patterns. This one's no need to move anything else. We just bring this thing up. And that's it. Because when we do that, of course, the swirly lines that we have for all of the other elements are gonna go up as well. That's it. And that's gonna give us an extra layer of like a, like a cushion there, like an interesting effect. And it's just going to look nice. Now, we can grab everything else again, especially the pants and just hit Control K again to simulate. And this is what we're gonna get. Nice little technical pants with this guy. Now this is way too dark. I think we can't even see. Thanks properly, so let's make it like a like a dark gray. There we go. Yeah, that's pretty much it. Now, one thing that I realized, I forgot about that boat, we turn off geometry or sorry, we turn off gravity. Remember a while ago when we were doing the deplete buckets, one thing that we definitely introduce, bring it back. So thanks, fall, because right now they're just crunching and they're not actually falling. So let's go back to simulation properties and let's bring our gravity to minus nine, ninety eight hundredth. And then when we simulate, thanks, should fall a little bit better. There we go. I still think will benefit from a little bit more length, to be honest, but since there's gonna be more, there would be boots and stuff, maybe we don't really need it. So yeah, that's pretty much it now again, if we take a look at the concept here, you can see that There's an x. I'm not sure if it's a flat or something. But what sometimes what I've seen this is like extra lines on certain parts of the pants that again give them a little bit more texture. We also missing, we're missing the Hamsun, the bottom part. So let's use this opportunity to add that sort of stuff. So I'm gonna go here to this area. I'm going to use my internal polygon line. I would say ripen it. This guy's would be a good position to add a line. There we go. Then I'm going to add one more straight line. Of course, there's hit Enter. Now I'm going to select the segment. Let me see if I can clone this as as internal. Thinking. We're gonna be able to do that. I'm going to say external to internal line. Essentially to internal line. There we go. Let's see. When I get like a line, I want to get a line here. So right-click. And we're going to have to cut and easiest way to do this. I don't want that cotton Sue and carried like a bunch of different things. So I'm just going to Control C, Control V, duplicate this. And now we call them sold on this copy. Call them, call them. So this two extra patterns we delete because this is the only little line that they want, or do I need this one right here? There we go. Now. We can just try to bring this into place where it makes sense. So like down here would be, we'd be nice. And we're gonna, so this line with free sewing from there to there. From there. There. We are of course going to Control C, Control R. I don't think this one has a sewing Stowe. So again, three sewing that guy. They're gonna do this on the front only. There we go. Again, just to make sure it make our life easier. Let's bring this thing to the front. Simulate. We're gonna give them extra little support line right there on the pants, which is also going to make it look a little bit more interesting. It's all about like adding a visual interests to the whole thing. Like making it look as nice as possible. Yeah, I think I think that said again, taking a look at the reference, I don't think we're missing anything. He has a couple of straps and belt buckles here, like this one right here. Because this one's just another pocket right here on the side, which we can very quickly add in just a second. Yeah, I don't see I don't see any other any other problems, to be honest. So the other thing is again, the side pockets, but I didn't think I didn't think I'm going to add them to this guy to be honest, I really like how this one looks right now. And I think if I added that, then it's gonna look a little bit too noisy. So the only thing I'm gonna do is I'm gonna change the colors a little bit. So for instance, this one right here, which is the thick panel there, Let's change the color to a lighter gray. I mean, I wouldn't I don't want this to be like a reinforced something, but I want to keep with camouflaged. Same for that, for the nylon campus belt. Let's go for like a lighter gray. There we go. So maybe this is like a snow not snowed uniform, but it will be sometimes I called it. I've seen them called this like urban camera because meshes or emergency nicely with concrete and all of the buildings and the streets and stuff. So yeah, this is pretty much it for the for the uniform. That's it, guys. I'll see you back on the next one there. So a couple of things I want to add to this guy, but that's definitely it for the, for the unit force. So hang on tight and I'll see you back on the next one. Bye bye. 30. Military Vest Block In: Hey guys, welcome back to the next part of our series. Today we're gonna start with a new garment here for our final project for the military as suit. And we're gonna be doing a bulletproof best. So Andra reference folder, you're going to find this reference right here. As you can see, it's a really, really cool best and up, I would say it's relatively easy to do. It shouldn't be that much of a problem. Let's start working on this. As you can see, this is a new scene. I did not continue working on the old scene. And there's gonna save file and we're gonna go to the garden section and we're going to add a shirt. Why? Because of course the shirt is really, really close to what we need. Now, we already know that there's gonna be some simulation problems. So let's bring this thing back. We actually don't need sleep, so that's a plus for us and we just need to animate. And there we go. As you can see, this is actually already quite stiff and following very closely to what we want. There's a couple of things that I wanted to change though. So for instance, I'm going to grab this lower section right here and just bring it up a little bit more. It usually doesn't hang as low as a shirt. Probably something like that works a little bit better. That's looking quite, quite nice. As you can see this pattern, we are following the pattern that we have right here. It has a couple of extra loops and things. Let's start with this main pocket, all of this seam lines suggesting we're going to add those later. But I think we really need to add that main pocket. Well now the Think of it might be a better idea to add the outline first. Of course I'm going to merge this. It's very important that we merged both sides to be honest. Because otherwise we're gonna have some lines in areas where we don't want, Let's select hold pattern. I'm going to say after this internal line. And the distance is going to be telling millimeter, we're gonna be using the ten millimeter mark pretty much all the way around. So that seems to be like a nice, a nice number now as you can see the reference as well, another thing that I'm noticing is that the shoulders go way we lower, the arms are not restricted. So before we add that outline, it will be a good idea too. To change death. There we go. There we go. That's also going to bring this thing up a little bit more, which could be useful for us. Now, we select everything like that. The patterns right-click and we're going to say after this internal line, ten millimeters, as we, as we mentioned, is gonna be the number. But actually actually we're not gonna select that one. So we're just going to select this, this, this, this, this, this so that when we do the offset things connect, the opposite line is gonna, it's gonna connect to the other side. Now that we have this, we can go here to the front view and we can build this or like a front paneling that we have for the character. So I'm going to grab my internal polygon line. Let me go here and show the internal polygon less. I want to see them. And we're going to go, I would say right about there. That will play there. Then I'm going to select that line. I'm going to right-click and I'm gonna say, officer, this internal line, reverse direction, so we go to the other direction. Ten millimeters is fun. Just hit, Okay? The only problem as you can see is that this thing is not going to the line. So we need to kind of connect this somewhere. There's a couple of options to do that. First of all is to just rebuild it from here. And I think that's going to be the best option and they don't want to extend and trim. But if we do that, it might go like way, way over to other places that we don't really, we don't really want to go. So what I'm seeing here is that on this area right here, that's kind of like a little back. So technically, we would need to cut this thing and an extended. But again, that's those are one of the things that we don't always want to do for real-life garments because it just made can make our lives a lot harder, right? So what I'm gonna do here instead is I'm just going to use all of the terms that we've created so far. And we're going to add them on top, like we've done this before. We can do the layer clone over for the element. I'm going to select this piece right here. I'm going to right-click. I'm going to say later clone over. All of the internal lines are gonna get another line right there. So we're gonna get this sort of like puffy affect pretty much everywhere. We can do the same thing for the back. So I'll grab this guy layer clone over that again. We're gonna get this sort of like Puffy, Puffy effect on the whole thing. Now that we have this, we can start thinking about like the Velcro and all of these little guys right here. And we're only going to be doing this on the over section. We don't want to do it on the other section because the under section is just a base. It's just it's just there to help us. So I'm gonna grab, I'm gonna create another line, another internal line that's going to go from what I can tell it's about here to the other side, like they're just hit Enter. There we go. And now let's make it like yay big. Just hit Enter. There we go. So those two lines, I'm going to grab them. Grab one. The other. One is to try to graph. That's the one. Okay, I'm going to Control C, Control B. We're just going to move them up. We're going to say, when I move them a 5050 millimeters or 5050 millimeters. And we want, I can see 12345 copies. So three for four more copies because we already have one, so we'll hit Okay, That's going to give us all of the bands that we're gonna have here on the front of the character. It's also keeping us on the bottom, sorry. And the reason why it's giving us on the bottom side and that's something that we don't once because we have live life thing turned on. So I'm gonna select this guy. Whole pattern right-click and when to say right-click and we're gonna remove linked editing. So that way, this one is this alone. Like all of the stitching remains like nothing's going to change there. But now I should be able to grab my my internal polygon lines. Let's build our little like elastic band. There we go. Grab the two shapes. Right-click, Copy, uncontrolled, be right-click. It's going to be 50 millimeters and we want four copies. There we go. That's gonna be the the railing. This is the railing where all of our little things are gonna go. And if we count again here, I'm gonna say we have 123456789 divisions. Neither vision is going across all of the different lines. We integrate those emissions. However, I don't want to create the divisions in such a way that we're going to add a bunch of extra lines in areas that we don't want. So I'm going to grab all of these guys. Let me see if I can cut them. Let's try one. Now. Another option is just to clone the shape and then cut the patterns so that we only have the little strips. But I think, I think we can, we can get away with this elements. I'm going to grab this line and this line right-click and we're gonna say absolute line along internal curve. And here's where we're going to divide that we have our nine pieces right here. So we're gonna hit OK, and that's gonna be the nine divisions. Now, do we need all of these lines to go all the way up to the top. Now, we can grab all of this points, for instance. Just bring them down to the lines. There we go. The grid that we're creating only stays are right here. Now, I'm going to grab all of these lines again. We can click and say at 0.2 intersections so that we create the actual intersection and we can actually stitch things together because otherwise, the stitching tools and everything do not detect that there is something that we're gonna be working with right there. Now, if we take a look at the distance that this guy is half, let me check this, this, this, or actually we need to add the intersection points here. There we go. So now the section that's 25.8 times 333.3. So we're going to create a polygon. Actually, the one that's the most important to be honest is this one right here. And I'm going to explain to you why. So 25.8. So I'm going to create a polygon. Rectangle. Width or height is going to be 25.8. Width. I'm gonna say 400. I know it was 300 something, but I'm gonna say 400. And the reason why I'm gonna say 400th is because I do want to have a little bit of like, as you can see, a little bit of room there. I don't want things to be like super tight to the main body. I'm going to grab this thing right here. And now what I'm gonna do is I'm gonna divide it right in the very similar fashion to how we did the other pieces. So regular here, right-click. We're gonna say officer, that's internal line along curved, and we're just gonna do nine pieces heap. Okay, and there we go. Now, we need to do a whole lot of stitching. So I'm just going to duplicate this again five times. Four more times, there we go. And unfortunately, there is no easy way to do this, but to stitch things like the way they're supposed to be stitched. So we're gonna go here to Edit sewing or sorry, two segments sewing. And we're going to say, okay, you go there. Then the next one goes there. And then the next one goes there. The next one it goes there. Next one goes there. There. There. There. There there. And it seems like we forgot to do the intersection point on this one. Right-click. Add points to intersection. There we go. Go back to segment showing. There we go. So I'm just gonna do one guys and then I'm paused the video and then do all the other speaks. Of course, I don't want I don't want to make you guys suffer through, through miss teaching every single piece to the place where it's supposed to go. Now. I'm just going to show you how this thing looks. Let's grab all of these guys. Control K. Control K. There we go. If we simulate, not that one. If we simulate, this is where we're gonna get the low like rhomboid shaped going all around the element. I'm gonna grab this guy, of course, let's lower the particle distance a little bit more like a ten that we can actually turn on elastic here. And remember when we do the elastic thing, things are going to turn to crunch together. Of course, right now, it's way, way too much. I remember that last usually has this AT less goods from like 95. So we have just a little bit of elasticities, elasticity to it. Now this one is, as you can see, we have a little bit too much like a space, too much room. So what we can do is we can make this thing a little bit smaller. And of course it's going to make things go closer to that, to the body. A little bit smaller as well. They can be slightly different than distance like not all of them have to be the same. The same distance because we're gonna have a lot of them. But yeah, this is pretty much the way that we're gonna be doing. Now let's add another fabric just to have a look at the frame color and be able to appreciate the detail. So do don't gray Hit. Okay. Got that guy and apply. There we go. Now one thing that we're of course going to be doing eventually is right-click and we're gonna do a layer clone over, right? So that's gonna give us a lot more puffiness to the whole thing. And it's going to make the elements look a lot nicer closer to where we would have. All of this will eventually be baked into an EMF, for instance, if you're doing this for a game, but it's not, just looks perfectly, perfectly fine for what we're going for. So yeah, that's pretty much it, guys. So let me let me just see. I think we're going to continue with a little bit more blocking here before we before I finish, and then I'll do the rest of the pieces, as I mentioned, off-camera because this is a relatively simple, relatively simple assets. Let's talk about this guys right here, like this or like coverage that we have on the top here for the covers. As you can see, they go around the best. So one of the, probably the easiest ways to do this is to grab, let's start the simulation. I'm going to grab a copy of this guys right here. Control-c, Control-V, bring them down here. Or just control C, control the beam. There we go. What I want to do is I want to create an internal line on this side, right? So going to this piece right here. I'm gonna go with my internal polygon line and we're just going to literally go across. That should create a line right there. And then the other line should be like I would say around there. There we go. Now we select those lines and we call them so those lines and we call them so all of this extra material we don't need. This is the only piece of fabric that we're gonna be using. And again, if we take a look at the concept, this thing goes around the element, right? So we're gonna have to merge these things together. But the other way around itself on this side is still there to the other side. So what I'm gonna do is I'm going to bring this guy. Well, first of all, let's delete the internal lines. We don't need them just yet. We're gonna match much. We're gonna go through selection. We're going to select this segment. And this segment right here, right-click again. And March. Actually mostly the opposite one. So this one, this one right-click. And March. There we go. So as you're consistent, so we're mirror. We're merging them on both, on both sides. Now we're gonna change the curvature a little bit actually, let's just delete that point. Let's keep it simple as possible. What I'm gonna do is we're going to make a layer copy under select this guy Right-click layer. Under both sides. We go. The problem is that we are stitching everything and we don't want that. So I'm gonna go into my stitching edit sewing. And this one right here, we're gonna delete on both sides. Because the sewing that we get like a free song that goes around the whole thing and we don't want that. So what do we want? We only want to, so from here to here, from here to here, from here to here, and from here to here. We want the, the empty, empty space in-between the elements. Now I'm going to grab all of them, rotate them a little bit, so they're a little bit straighter. And then we're going to scale them up a little bit. There we go. That's it. That's pretty much it. The only thing we need to do now is bring this guys are into position. So for instance, this guy's, one of them is gonna be on top. This guy is going to be on top. This thing is gonna be on the bottom right. Again talking about layers. This layer, of course it's going to be layer 0. All of the best and everything's gonna be layer one. This piece right here is also going to be later one. We're going to do the same for this piece is right here. Let's bring them over here. This base. Gonna push up this layer, 100 pieces, layers here. There we go. Well, let's give a shot. We should have like a sandwich. There we go. The Spanish is working. Let's just push this up a little bit more. Way, way too big. So let's grab both of them. Make them a little bit smaller. This again. There we go. That's going to give us sort of a firework going for. I still think they're a little bit too big. So let's make them even smaller. There we go. That's a lot nicer. Oh, come on, come on. You can do it. There we go. Good pattern. You did it. Cool. We have the little pattern there. Now again, if we take a look at the reference, you're gonna see that the pattern has a stitching going through the site like this. It has an internal line rate like that. But I wanted to do the line right here first. I'm going to say Edit Pattern top and bottom. Well, actually this are the other pieces, right? Well actually all of them need to be there. So top and bottom, top and bottom. Right-click, officer, this eternal life. Let's not reverse the direction. Well, that's weird. It's this one. Source internal line. There we go. We get the lingo, we're going over the whole thing. Let's remove the life link, the link anything right now? Because now I want each piece to be treated as an individual piece. Pretty much. We can link this, I guess this two guys. We can, we can symmetric pattern with sewing. And symmetric pattern was sewing with this two guys just to do a change and wants to have it on the, on the other side of course. But now we want to add a thickness to them. So again, just grab one and the other, right-click. And we're going to say layer clone over. Let's go there. This case, you need to grab everything. Right-click lyrical and over. That's going to pop them out. So let's give us that nice external line that we have there. We might need to make them a little bit bigger, just a tad bit bigger. They don't have as much problems with the underlying piece also, of course, increasing the intensity and stuff. We'll make it work a little bit nicer. Edge. You can see that we have those straps there. Another little piece of fabric up, like going from that specific point. So I'm gonna go through my internal polygon line on the upper or over tools. Let's go. Let's go here. Hit Enter, right-click, and we're going to extend trim that point to our outline. Here we go. So it's on both sides, it's gonna be on both sides. That's fine. Actually, no, it's not fine. The reason why it's not fine is because we don't want to affect anything here. So all of these guys removal linked editing. Now if I only want to, I think we also need to remotely editing on this one. There we go. Now these two guys, we are going to again symmetric pattern with sewing. That when I add an internal line. In this section right here, it goes on the other ones. Well, we select that internal light right-click. Technically, we could do this with, as you can see, it goes all the way out to the other side, which I hate. But we can hear, we can say at 0.2 intersections and then delete the point on the edge. Like that point right there, which is delete and that way we just get this internal line. Now, why do we need that internal line? Because that's the internal line that we're gonna be using two. So our little band together for the bad, it's just that we need to create a loop. So let's just click element like this. Free sewing. We're going to show this line there, line there, and also that line there. There it goes a pattern from very far away all the way through the neck, which is not ideal. But yeah, we're gonna use our little tack. The cure helped the simulation. That's going to make it a lot this year. Where are you going, my friend? You're getting to the insight. That's weird. Should be going to the outside. Right-click. Excellent. Normal, normals are fine. It's actually find it quite interesting that it's going there. That's right. Let's try something else. Let me go here to the session edit sewing. And instead of showing this line right here, I'm just going to call one. And what I'm gonna try to do. Let's first see if that one sticks to where I want to know what's going on there side. That's really weird. Really, really weird. Because I was pretty sure this was the top layer. It is a totally or there was we wouldn't be seeing the line right there. Interesting. The other thing I'm thinking it's just like calling this line. I mean, if we just we can't just look on the right because it's an internal line. But what we could do is we could just grab this thing, extracted pattern, outline, and then cut this line. Cut. So of course, now, since that's a sewing line, maybe it'll work a little bit better. No, you know what? Let's go back. I know whether this very simple, this is set to 10. So let's set this to two. Yeah, that was it. There we go. Now we this together. And as you can see, the thing is going to just stay there. Perfectly, perfectly stable. So that was just stop this. The same thing from here to there. We're going to have a little loop, like a little elastic band. I just see it on one side of the elements. I'm just going to keep it on one side of the elements. I think that's gonna, it's also going to make it look cooler. And yeah, I mean, we still have a little bit of time guys. So what I'm gonna do here is I am going to do the the thickness on the actual like best. If we go back to the original best, I just wanted to add that the board is on the side. One thing I am seeing here is that this line is not going to the d elements. I'm going to extrude it to the pattern outline. There we go. And we're gonna grab that guy. We're going to say. And so we get bold lines. And then by selecting those two patterns, we're going to say right-click. We're going to outlay or clone over. Even though I'm going to place them on there. We're going to reduce the distance to five. We simulate. We get a little bit more like a factory there. Maybe we're having some issues with the latest. Again, this is layer one. This is layer one. Layer two. What is, you know what, what silly me. I'm doing this on the on the undergarment or like the piece on the overpass. That's this one. This one. We're gonna say cotton, so say yes to extend that. It's not extending. Let's just grab this guy. Again. It's better and outline. Extended trim to pattern outline. There we go. Grab this guy and this guy right-click and consume. There we go. Now this is the outer or the outer pattern here. Right-click Layer comb over. This guy is we're going to reduce the distance like five. Give me that puffy effect on there. We're going to do the same thing over here. This one's even easier to grab them. Right-click and extend to a pattern outline. Grab both parallel lines. Right-click, call them. Know, that's so bad. Okay, So this is a crash guys. I'm gonna start with the right here. I'm going to continue doing this streamlines and continue doing the elastic things that I'm appending. And then I'll show you the final result at the beginning of the next video. Hang on tight and I'll see you back on the next one. Bye. 31. Military Vest Details: Hey guys, welcome back to the next part of our series. So fortunately after the crash, marvels did have all the saved, so I was able to rescue a lot of the work here is that all of those little things together, we have the little thing there. And now let's start adding some details. So for instance, this guy is definitely gonna have to go all the way down to five particle distance. So we get a lot more stuff. Both of these guys over here, like all of the elements, all of these guys would definitely need to bring them down to like a ten particle distance again, so that we get a lot more definition. Still competing a little bit there. So maybe if we grab again the top distance or only the over distance, you don't want to do this for the other ones because they're really not serving as much of a purpose. It's bring them down to ten. And it's also going to give us a little bit of a better resolution there on the, on the elements. Just going crazy. There we go. Suddenly. I'm just missing the transport. I want to show you the last part of this element, which is the, as you can see here, this velcro, velcro stuff. Easiest way to do this. Let's just grab out a rectangle element here. I'm going to add the one right about there. Actually not, not a rectangle, sorry, Eric director, internal rectangle shape. We're going to add the shape right there. We go. Then I'm going to Control C, Control B, right-click. We're going to opposite only like I would say, 30 millimeters probably. And we're gonna do two copies and hit OK. Going to give us a nice elements right there. And then we're gonna grab both of them. We're going to right-click or all of them and say colonists patterns. And that's going to create a pattern over here. And that would this patterns, again, we can just sign a different fabric. We went to, of course, sold them all into the, into the place where before we do that, as you can see, usually the Velcro is on the borders. They have a little bit of something. So I'm gonna say officer, the internal I'll offer this internal line. We're gonna do just like two millimeters or something. There we go. Then we're going to solve this things. We're going to select this guys are free sewing tool. In this case, I think we can do segment sewing should be fairly easy. Just be careful here. Actually, let me, let me backup before we do that, I think I'm gonna do the sewing before we do that. The other thing, because otherwise I might select the wrong element. There we go. I'll just do 123. We're gonna do 1123. There we go. Now of course, on the 3D view. When we're going to bring them as close as possible to the simulation area. This should be fairly easy because there's just like straps. So if we simulate, it should just go straight to where they're supposed to be going. Careful here at the layers thing again. So let's bring this later for like four or something. So they go all the way to the top. We're gonna change that later. Now, now that we're showing in together, now we can do the internal shapes. So we're gonna say clue as internal line millimeters and then grab all of the patterns. Right-click clone, lyrical and over again, that's going to give them that sort of like Puffy, Puffy look pretty much everywhere. Let's help this guy a little bit so that it can sell a bit better. Yeah, that's that's pretty much it, guys. You can of course add as much detail or as little as you want. For instance, I left this thing hanging just to break things a little bit, a little bit more, but this looks quite, quite nice. I'm gonna go to a fabric one. I'm going to change the color. Let's go for a dark gray as well. And then this one, let's go for a little bit of a darker gray. There we go. So we have a little bit more, you know, a little bit more dynamism, pretty much everywhere. Now we're gonna go all of the patterns here. Let's organize them a little bit better. So grab all of these patterns, change the release to 0, so there's no overlap anymore. We're gonna save, of course, This is gonna be your military best option. There's still more details, but we're already running a little bit long on the lectures or so. If you want to add more details here on the back, feel free to do it. I just want to bring this into a character and see how it looks in context. So I'm gonna open the project and we're gonna go to our chapter five. And we're gonna be opening the alien soldiers uniform, which is the big one, right? So I'm gonna hit Open. It says that there are some weird lines. I've tried to find him. I'm not sure where they're just make sure to turn to this thing like the texture, thick texture because there's some thickness that we need to recover. And I'm going to turn off the internal lines so we don't see them. We don't have the avatar on how we do. There it is. Now I'm just going to say File import, project and we're going to add our military best hit Open. We're going to add, we only want to add the garment, Nothing else and we're gonna hit Okay. There's, there's the algebra. Let's move it to the site over here. We're going to set the layer, of course, let's say it again like a layer three or something. Just to make sure if I remember either there's no layer here. Now when we simulate the chest is gonna go or the best is going to go all the way to the front. There we go. Character is looking quite, quite nice. What did you say, Guys? Only that, it's not only the character. The character looks cool because paste in a way. The cool thing is we have all of these patterns. Like if you ever need a soldier or a policeman or something, you have all of these patterns ready to start working on edges like a goal from here. Guys is just a short video, just a little details that we were missing. Just make sure that all of the song lengths are, are properly placed into. Make sure to get all the way to this point, guys. In the next video, we're going to finalize the project. We one of the final assets we're gonna do a little side back here for a character. So, yeah, hang on tight and I'll see you back on the next one. Bye. 32. Military Bag Block In: Hey guys, welcome back to our next part of our series. So do they weren't getting to continue with the military bag, which is the last part of our effort character. Now, I'm going to start this on a new scene because it's gonna be a little bit complicated. This I must admit it's one of the tricky parts and I left one of the most hardest things until the, until the very end in regards to Garvin creation, were still have to cover a couple of other things about marvelous designer, but there are more technical stuff. This is what we have. Simple back. And it might sound simple at first, but there's a lot of things going on here that we need to make sure that we built in the best possible way. The first thing I wanted to do is I want to create just the base. I wanted to create the straps. And then when I create this thing where the little bags gonna be attached to, one thing I'm going to mention though, is we're not going to have the buckles because we don't have buckets inside of the marbles, the center usually would you like to do, or what you must do is do them in Blender Maya or any other software and then bring them in and just a mess up traditional geometry. I mean, we do have some hardware here. So there's this buccal, but I honestly don't like it as much. Let me see you book home some of this. As you can see, it's just like a traditional belt buckle rather than the one of the buckles that we're looking for. I mean, it looks okay, but if you guys know how to model things inside of Maya Blender, It's way, way better to do there. Now, let's start with the bands just to, just to get an idea of how the banks are gonna be looking. So it's roughly going to be about this size on one of the size, of course. And then we're gonna select this section. We're going to unfold. Now of course we're gonna be using attachment points. Let's see if we can go right there. At this point, they can already see that this is going to be like Where were we were too small. But let's give it a shot. I'm gonna segment so from 1 to the other and simulate. Yeah, that's more like the small ones as you can see, that one can nicely fit right about there. I would say We've probably going to need to make it a little bit smaller, like shrink it a little more. I'm just going to grab this guy, make it a little bit smaller. So when we simulate, it stimulates a little bit better over here. Now one thing we can do, by the way, is especially for straps and things like this. We can go here to the, to the options of the pattern. There. There's an option called borrowers it here solidify that thing will try to keep it a little bit tighter. Especially for this. Things like we really want them to hold the shape. We don't want them to the form as much. Just keep that in mind. Now for this one, I'm just going to Control C, Control B to Control C, Control D to duplicate. And let's make this a lot longer. As you can see, we have it over here. We can kind of get it in there. Let's see if the simulation works. Nope. Let's bring it to a ratio of points. There we go and simulate. There we go. That's a lot better. Yeah, that looks good. I think maybe maybe just a little bit smaller again so that it holds the surface a little bit better. Now, again, one of the challenges that we have with this character is that it has a Lola Ridge's and he looks like a little bit weird, right? So just keep that in mind. So yeah, this are the two elements that we have. This one is right above the knees like right above there, and this one's about there. Now, we need to create, again, as you can see right here, not that one. Where is it? Right here. You can see that we have the pattern looks just like a base where the strap is going to be attached to. Now, technically this stripes are going through the thing. In our case, we're just gonna make it so that they so into the side of the element. I'm gonna go with my polygon creation tool. Again, taking the legacy as sort of like a viewpoint. I'm going to go like this. And then we're going to create a nice little point there. Go down. It's kind of like doing a little shirt. We can grab this piece right here and unfold. And we get this shape, which again kinda mirrors this. Now as you can see, the curvature is a little bit nicer. So what we can do, of course, is we can grab this point right here, right-click and convert grid points. And then of course here what I'm gonna do is I'm going to create an internal polygon line. There we go. And then call them so that line. And select one or the other and light blink. There we go. Now we can merge them again. I only did that to activate the mirror symmetry. So just merch and they're still gonna be symmetrical. So we can go to Edit curvature and just like change the curvature. Here. There we go. Very important that we have like a straight section. Again, as you can see here on the concept, it's actually supposed to be a little bit longer or higher. But one thing that we're going to have this as this thing, it's going to float to the other side. I do want to include that or at least give the approximation of it. Now, I do want to round the corners a little bit more. So here's a quick trick. We can add a couple of lines. Here are a couple of points. You can see it's on both sides. And then select this point right here, right-click and convert, tweak or print, of course, change the curvature. So it's a little bit softer. That way we get a sort of round the flag down here. Yeah, This is the attachment points. So how are we going to attach this thing to the strep swell? The ideal thing would be for disrupts to be liked at the sites like this size right here. So we need to discount the distance of this thing from the elements, right? So I'm gonna go to my section elements for my sake. But patterns, as you can see, that distance is 84.2 times two, that would be 168.4. And that means that I need to remove a 168 units from this piece right here. So I am going to grab this point, I'm going to split, let's just split the halfway point. So 84.2. So I'm gonna go here, split by length 4.2. I'm going to make sure that this is going on the proper side, which it is. And then same thing over here, split by a length 4.2. There we go. What did I press? Let's do it again. My life. 84.2. And we just want one segment. We want to reverse this, sorry, reverse. There we go. So cute. Okay, and that's it. Now to save a little bit of time, I'm just going to use my internal Polygon Tool. Go from here to here. You just hit Enter. From here to here. Enter. Grab those second points. We're going to cut. We don't need to. So because we're actually going to be eliminating this piece right here. Now, since, since we're not gonna, we're not gonna move this thing to the other side. I don't want to extend this thing a little bit more, but we'll do shortly. So let's align it right here. And let's use our free sewing tool. From here to here. From here to here. There we go. Now if we simulate, as you can see, this thing is holding nicely here on the left. Cool. Now we're gonna do the same thing down here. We need to remove this space right here so that it flows nicely into the rest of the elements. So if we, again, we check the distance is 58.7, roughly 58.7 because it really doesn't matter that much, but just keep in mind that it's about 58.7. So again, we go here, right-click split by length 58.7. Same stuff here. Split segments or by length 58.7, we're gonna reverse. We're just going to use our internal polygon line to bring this thing down. Enter, from here, down, enter. Select this guy and this guy right-click and cut. This thing are here. We easily. Now again, which is bring those things on a pattern like up here. It looks nicer. We use our free sewing tool to go from here up. And I'm gonna try to go from the apex up so that we don't create any weird like pinches. If it's not perfect, don't worry too much about it. There we go. That's it. We have the base of our, of our leg armor right here. Now, as we can see here in the reference, and there's this little back, and we need to create a little bag but lived back lips inside this sort of like a border that's sewn into the, into the elements, like, kinda like a ham. So I'm going to grab my element right here. Well, I mentioned that I wanted to expand this, so I'm going to do like a little bit of a round. The fact that we're here, I'm gonna grab this guy. I'm gonna say offset, pattern, outline. Let's say 20 millimeters. I think it's gonna be fine. Then I'm also going to round that thing. So I'm going to add a couple of points here and then select that point and convert to a curve point. And then check the curvature. And just move it in a little bit more. There we go. Just a little bit rounder. Now this whole thing is going to have the silhouette. So I'm gonna grab the whole thing. Just right-click. I'm gonna say officer, this internal line, five millimeter seems good. It's gonna hit Okay. As you can see, it's straight right here. That's fine. I mean, if you want to modify some of the points right there, we can also do it. They duplicate it twice. No. I think I do want to change some of the points, so let me see if that point right there. It's kinda weird and we had a couple of extra points. That's fine. Let's try it. Let's try it. Let's see how it works. I'm not sure if that's going to cause an issue later on. I'm just going to right-click and I'm going to say colon this pattern. And this is where we're gonna start building our little back. This is part of the back. So here I am going to go into pattern line again and turn a polygon line. We're gonna go down here to about where the little pouches. So we're gonna say something like this. Select that pattern line again, right-click, Right-click to split. That's always mess it up. Cut. We don't need this upper side. No need. But actually no, let me let me go back. I'm going to tell you why. I need to make sure that I have the proper spacing right here. So it's gonna be a little bit better if I first clone this thing. So I'm gonna grab the whole pattern. I'm going to right-click clone over. I'm going to say Clone layer column. Over. There we go. So that's gonna give it a little bit of volume. It's gonna make it look a little bit puffier. We know that that's what happens. I'm going to select the pattern. We're going to right-click and say removal linked editing. So this thing is just like its own shape and whatever I do to the shape doesn't like transferred to the other shape. This shape. Here we're going to use our internal polygon line to draw. The bag is actually gonna be, it's gonna be that section over there. This last section that we asked, actually going to go a little bit higher. So Rob live out there. There we go. Now, we got this piece right here, the pattern Control-C, Control-V. I'm going to grab this line. This line right here, right-click, extend trim to parent outline. There we go. Grab it called ENSO. I actually just cut, that's fine. This is gonna be the basis for my little bag. As you can see, it's not going to be, what's the word? It's not gonna be perfectly straight here. But that's actually something that we see here. You can see that there's a little bit more cloth right there, so it's fine. We can work with that. So now, as you can see, this is looking a lot nicer and let's start building the little back. You guys remember how we did the pleats? When we did the pleats back in the pocket section, we're going to do something very similar. I'm going to go into my Edit Pattern. I'm going to go internal pattern line. Go here all the way up. And there we go. And then I'm going to, That's gonna be my center, right? So what I can do here is I'm going to select this cotton, so that's half of the element that's important. We can't, we can't change that. But what I can do is I can start extending this. Here. We can decide actually let me go back to thing with the best option here is because we want to make sure that we keep the same front distance, but we wouldn't expand the sites. First of all, I'm going to select the shapes and I'm going to delete them. Let's say we have two lines over there. It's weird. I think we're gonna do with the pockets, so I'm just gonna grab this guy. This patterns. This one's right here. I'm going to right-click and I'm going to offset pattern outline. Here. We decided how thick we want the banks to be. This is relatively fixed. I'm gonna go for like 40 and heat. We're gonna do unfilled corners. Or in this case, we can just do the four corners and hit OK. Now, this little guys right here, remember when we're doing the address and stuff like what kind of thing we can create with those elements. It's kind of like the medieval shirt, doesn't like Apex thing is that we had at the back. I'm going to push us up. Well, again, we can we can just try and move it or delete it or something, or we can create like a little dart. I think it's a little dark would be fine. But to do that, I definitely do want to make sure that this is symmetrical. Let's make it symmetrical. Again. It's just going to grab this guy and let's see if we can cut this. Cut, grab one or the other, and create the light blinking. Oh, there we go. Now we can grab this guy again. Just March. There we go. Now this little pocket thing is submerged. I'm gonna go to my internal polygon lines. I'm just going to create a small little dark there. I'm going to call them. So just to remove that little round coordinate because the round corner, it looks good on the pocket here, but it doesn't look good over here. Now, technically. Technically, and I think I was thinking about doing it the dark, but I think honestly, it's gonna be a little bit better to just get the point like there and then delete this points. That way we have a perfect bucket segments sewing. We're gonna go from here to here. There we go. We definitely need a couple of internal lines on the edge right here. Like going up. Those are the things that are gonna fold. And of course one, right here. There we go. Now, we need to do is we need to, of course, a folded thing. Now, I'm not sure if I mentioned this, but in the simulation properties, we can turn the gravity off so that when we simulate things just like seemingly right there, it's not really doing what I want. Let's check real quick. Let's check our swings. That's working fine. The thing that we need to do, and I do remember that we talked about this before, is we need to change the the angle right here, right? So we're gonna change this to like 90. And this angle is going to be going in. Okay, it's trying its best. Thing is this working? Let me let me remove limit. There we go. I'm gonna grab this guy and I'm gonna remove the light blinking or the length editing it because that might be like doing things for ANA. See that it's a sewing. It's wrong. It was reversed. So we're just gonna go here. Segments sewing, we're gonna go out, out, out, out. There we go. Now I do want to select especially like this outer edges. And I don't want to change this to the following list. Perfect. Now when we do this, we got our nice little, nice little pocket, like our nice little, nice little back. Now of course, this looks a little bit rounder, and that's something that we need to check. What are we want to have it rounder or one habit like a rough like this. I do think we want to have it round. So that means that these two guys especially should be a 180. And as you can see, that's gonna give us a more of a round effect. And we can even delete those lines like we don't really need them. And that's going to give them a router effect. However, and this is a tricky part. On the top it seems round and then on the bottom there's this sort of like extra clotting right here. So let's see how we can build that. Now that we have this, we can actually saw this into our main patterns are like pattern right here. So behaving weirdly. It's going crazy over there. Why did receive the darts or something? Really weird. Let me, one thing I'm gonna do, I think I'm going to delete the under for now. I'm gonna grab this guy and deleted. And let's just make sure that this there's no showing here. So let's just resolve this. Let's do free soil. From here. Again, kind of like grabbing the top part right there. Probably a little bit lower though. Yes. Beneath the point. I just want to delete the undertook to make sure things simulating the best possible way. Because sometimes, as we know when we have like extra layers, things can get a little bit tricky. So again, I'm just going to go here to the sun online. Let's go to that point. I think it's an easy point to remember. That way we can make sure that things are a little bit more symmetrical. Here we're gonna, we're gonna go to this point up. That way we avoid the little corner piece. And that should give us more stability on the element. There we go. Now, as I mentioned, we can free. So this thing is right here. So we're gonna go from there. I'll see it's not getting there. Let's start on the bottom part. Because the curvature did change a little bit. The blue point might not be under specific point, which is not the end of the world. But just keep in mind that, thanks Mike Berry, they're a little bit. And we go there. Cool. So now when we simulate sedan, however, nice little pocket right there, building some of the, some of the effect. Now, as you can see here on the reference, the pocket on the top, it has a cap. It's it's it's a zipper like pockets, not a flat pocket or anything. We definitely need to build that as well. So how are we gonna do it? What do you guys think? Well, probably the best option is to first close this whole, like we have this part right here. And we know that the distance in this segment is 7070 or we go here, it's a 128.3. I'm going to create a rectangle with 128.3, let's say 40 millimeters. Because that was when we did the size here, 45.3 millimeters was was the the size. So let's change the length or just describe this in 45.3 as close as possible. Like a couple of decimals there. Most of us are not going to 45 points. There we go. Okay? Now the problem is this top part, one, we can very easily. So in this case, the wall here. I'm gonna go there. Well, you guys know what I mean? Like we can we can show it to that line right there. Again. Deadline. There we go. Again, we've simulated, that's the, that's the world flat on the top. But this flapper should be round in order to match the total length that we have here on this segment, let's delete those points. By the way. I really don't like extra points, so let's delete them. If we take a look at the length of this thing, you guys see that it's 207.9. This guy is, I am going to right-click, I'm gonna say extent from and to pattern outlet and that point so that we can select those segments by themselves. This is 207.9, but it's a curve. It should be 207.9 on our curb. Right now this one's a 126.3 or sorry, in this case, a 128.3. So I'm gonna select this points, right-click and convert them to a curve. If I check the curve, this is 237.7, which again compared to this one which was 207, it's a little bit too long. So I'm gonna grab this guy, changed the length, I'm gonna say turn seven. And I'm going to select both. And I'm gonna say locker points. By saying locker points, the points like this distance, the distance for the original line should be the same. We're only changing this things right here. Now, since this is a cylindrical object, we should be able to grab our free sewing tool again, like this. And just so this together. Then you've got this sort of like a round shaped bag right here. Cuckoo, cuckoo. Let's just definitely give them, get this a little bit more resolution. So let us say ten particle distance. So we get a couple of more. Just a matter of pulling and pushing a couple of the elements in and out that we can create this nice, Very nice little pouch. Now on the reference here, you can see that on the inside we have a really, really strong like a like song, song line, right? So I'm gonna go into my internal polygon line. Yeah, I would say right about there. Probably a little bit less. There we go. I like that one. So I'm gonna select that one. Here's what I'm gonna do. I'm gonna select the whole pattern controlled, Control C, Control B. And then I'm gonna select that line right there. I'm not gonna do over, under, I'm just going to cut and so delete this piece. Delete those internal lines which we don't need. And I'm gonna make this thing just slightly, slightly, a bit longer. Because we know what happens when we do that. The particle distance for this one is gonna be really low, so like a three. Now we're just going to show this thing on top here with our sewing line, with our Zhong. I'm just gonna go from here to here. Just going to be from there. All of this. I know that it's not the exact length. That's fine. Because we actually do want to generate that sort of like little wrinkly effect on that specific line. It looks like it's like reinforce or something. There we go. Let's help it there. What we can do is we can select this right-click and say superimpose over. That way it's gonna be on top of the object. That gives us a really, really, really nice effect there. Because it looks like this sort of like reinforced element. Now we have the separate. We need to divide the separate so the business of running a little bit long. So I'm gonna stop the video right here, guys. Don't forget to save, of course. And I'll show you in the next thing I know how to do that. That's super so hang on tight and I'll see you back on the next one. Bye bye. 33. Military Bag Details: Hey guys, welcome back to the next part of our series today we're going to continue with the military back. So let's get to it now before we continue, I actually want to add a new fabric. I'm going to change the color here to like a, like a military green color just so that we can see things a little bit better. And especially for the back and the panel. Like the back of the panel, of course there's little flap. I'm going to assign that material. And of course this one as well. Well, actually now that I want, I'm going to keep it with like a soft fabric, but this one's, I want to go down here to the presets and I'm going to use the leather leather effect because, because we do want this to be a little bit more intense. So I'm gonna go here and just look for the leather trim, full green letter. There we go. So as you can see, things are gonna be a little bit interesting. Now here, we definitely wanted to bring our gravity back. We already have linked the main shape of the pocket so we can bring the gravity back. Just hit Play. There we go. A little bit tense though. I don't know. I'm not convinced. Let's go back to the original fabric. Yeah, that looks a little bit. I mean, it looks better, but it's way, way too loose. Well, we could do though is we could grab this and maybe, maybe just like a strengthening this a little bit. As you can see, it it makes it puffy him. I'm not sure if that's what I want. Let's keep it like deflated for now. While the super for the zipper, first we need to divide the upper part. And again we're going to use a internal polygon lines. So right about there, I would say here, I do need to cut. So I'm gonna select this line right here and I'm going to say call them so, or actually just cut. We're just going to cut. There we go. So the top part of this thing is going to look more like a cylinder. And the bottom part is gonna look a little bit more like a straight line. Actually, this line right here, I'm going to delete, we don't need. And that way this thing is going to look even more like a cylinder, which is what we're going for right? Now. Of course, if we do this, this thing is just falling to the ground, which is funny. Let's go up here. Police, there we go. I'm gonna grab this piece of fabric. There's some other options we can do here. We could go a little bit of shrink and RAF are weft. There'll be also a here I'm going to select the bond wellness, another one that we can use. And with bonds selected, what's going to happen is the, the elements is also going to try to remain a little bit more, more stable as you can see there. Now, as you can see that the bag is open. It looks really horrible. So we need to add the super tricky, I believe in you guys have tried this a couple of times. One of the most common mistakes that I get with that I tried to do this upper on the 2D view because I'm so used to working on a 2D view, but it's not the way to do it. You actually have to do it here on the 3D view. So I'm going to select all of these pieces and just move them up and out. So that I can see the opening here on the math of this in this thing. And now I'm gonna go into my super tool. Where is it here? I'm going to start here, and I'm going to trace the line all the way around until we hit the area where we want to stop. And here's where it's very like context-sensitive. So as you can see, it immediately starts to jump there. I don't want to do that, so I'm just going to stop it where I think it's going to stop. Just against stress it. So he was trying to go to the other side. Don't don't let it do that. Double-click to select the first super segment. And then on the top side. Again, it doesn't need to be all the way under the beginning because you'd be like right about there. And now we should get like a blue line. We trace this was gonna say all the way there. Didn't respect the other one. That's fine. So again, you can see how I mentioned that it was gonna be a little bit tricky here for the separate. We go right about there, that will click and then we go there. There's a blue line, and there we go. Double-click. There we go. Now the super is done. Now the problem with the Sippar, as you can see as it's sometimes and I don't know why it does this, to be honest. Sometimes that happens, sometimes it doesn't the Cyprus the other way around. And yes, you can select the little handle for the super and try and change this here on the opposite side or reverse direction. Uh, but it just doesn't work as well right now. And I'm not sure if I've mentioned this before, but I normally don't use supers because they separate is just the texture. See that? There's no geometry there. It's just a plain old texture. And the problem with that is, it looks horrible on the, on the, on the final renders. Even like now I'm tempted not to use the zipper. So I'm gonna show you another alternative to the slippery. If you want to do the super, that's fine. But in this case I'm just going to go back until before we did the cut. There we go. Yes. We're going to add the line. Get if you guys want to do the super, your own little pocket, Go for it. I just don't think it looks good. That's where the shipper would be, right? So I'm going to add two lines right here. Enter another line. I'm gonna copy this pattern. You guys might already have guessed what we're gonna be doing. We're going to select those patterns. Cotton, so to get the little lines, we don't need any of those points, but by now, we're gonna make them slightly longer. We need to give them a lot of particle distance. Look at three. We just saw them. Again. We're free sewing tool. We saw lower part. The upper part. Then this one. The lower part. Which very careful care. I think this parents are not extended. So I'm just gonna say extended that to put an outline. There we go. Let's try this again. Let's make sure that we don't have any settings. So I'm going to select the songs here and just delete them. You see, you see how I accidentally sold two of them together. That's of course not what we want. So we'd go down there. And then up here, up here, down here. That same line. This one. Careful there, same direction always. There. We now we just simulate. As you can see, We're gonna get like a board there, there. Still this strap, man. I'm pretty sure I selected that solidify thing and not working properly. I mean, another thing we can do in this case is just like preset. Nothing wrong with grabbing this pieces of a strap and hitting Control K to freeze them. And that way the packet is not gonna go anywhere, like back here. So I'm gonna go anywhere. Cool. Let's do this superimpose thing because you can see it's having a little bit of a hard time they're trying to organize itself. So right-click superimposed over. And now when we do this, it should look a little bit better. It seems like this piece right here is not properly sewn. I'm just going to delete it. Let's redo this one looks fine. I think one looks fine. We can leave it that other one and it should look up. Look okay. And then if you want to go and you're going to do this, we can go here to the hardware for instance, and we can try and look for like a zipper or something and just added here on top, but it's an actual mesh, right? So that might make it look a little bit better. Now, the other details that we have are of course like this velcro patch and I really like this border. His colleagues looked at BYU, right, another little element right here on the object. And it comes from this main player, like this main shape right here. What I can do is again, I'm just going to select this guy and say extensive enough points or just add points to intersection. So now all of the points to exist there. And I'm just gonna grab this guy right here. Let's do the same thing. Just do everything, or for the pieces not working. Okay, Let's just got lies. And again, at points two sources, so now they're all like intersections. So we've got this guy right-click. It's not letting me copy it. No problems. I'm just going to Control C, Control B. Copy this. Let's just read mesh that. We have a little problem here where the superimpose, grab this and then superimpose over. Come on. Let's just superimpose over again. Same for this. There we go. So this piece right here, I am going to again colon, colon. So I just took them out of habit. But of course, if we delete this, the soil in Saigon, now we just have this single piece. And I'm not just going to what's around, not just going to paste it. And that said because if we do that, that's not really going to look as nice as I would like. As you can see, it's kind of like this or like rounded, rounded edge, right? So we need to add a couple of edges here. I'm going to select the whole thing. Right-click. And I'm gonna say after this internal line, you're gonna hit Okay? And then this edge right here, I'm gonna change the direction a little bit. Let's start with something like that and see how that looks. Now we, so here we can use segments, sewing, loop. There we go. It's getting us this sort of like hard edge effect. And again, it's just going to Alice a little bit like a paneling to the whole thing. Let's change that. Let's see if we can change this. Because I know if I bring this all the way down, it's going to look like really, really sharp. Let's see if nothing we can keep it around like really close to the 180. Just like a little bit of extra paneling there. Because we're still gonna have this, these elements, all of this support. So now we have this velcro panel as well here. Now this is the front panel, so this is the one that we're gonna have to do. Now that I say that maybe again after reviewing this, even though deadline looks cool, with all of the other effects that we're gonna be adding. Maybe we don't need it and instead what I'm gonna do, let me delete this. Delete this. Let's split this line. I'm just going to say here cotton and cotton. So here on the soybean lines and there's an option that we have. If we go to the sewing lines, this one right here, right now it's set the customer, we can select this to churn. And changing this to churn sometimes makes it look a little bit round, Roswell. See that? Yeah, that helps a little bit with the overall shape of this, of this guy. Because again, we're gonna be adding a lot of lines and it's gonna be a lot easier if we keep this like this. Now, again, I said I just mentioned that, as I just said, that we're gonna do that at the end. So let's take a look at the reference again. Here. This one right here, and we have 12345, so it's five, but we skipped the fifth here and add the fifth here, right? So I'm gonna go into my polygon lines, internal polygon lines. Let's draw the first one. Enter. Let's do the border, things, something like that. Otherwise, you're not going to fit. Grab both lines. Right-click, copy, paste or Control C, Control B, right-click. And we're gonna say number of spans. Let's make sure that we're going like straight. We have five copies so for here, and we need to be very careful about the spacing, otherwise they're not going to fit. Right about there. Hit Okay. We're going to be all of the lines that we need. And then again, if we take a look at the reference on the front, we have 1231233 lines and other side we have two lines. So I'm gonna grab this guy and this guy right-click. And I'm going to say after this internal line along curb, three segments hit. Okay. And then we're gonna select this guy and this guy. Yeah, it's not a single section, so let's select, we will let's select all of these lines. The way they're not, not those ones because that's supposed to be the super. So just right-click and I'm going to say at point of intersection so that now there are intersections and that should allow me to grab that line. That line there we go. Right-click again, obviously this internal along curves and this one's going to be to hit, Okay? Do the same thing here. Right-click after the long curve to hit Okay? There we go. Now that means that we have all of the insertion points are ready. And from here we can extract the bands, right? So it's also important to control, to be concerned C, Let's start cutting. Cut and sew. Goodbye to that one. I wanted 2345. There we go. Select this guy, this guy, this guy, this guy, and this guy. Pretty much all of them to be honest. Cotton. So there we go. And we delete the intermediate pieces. Yeah, that's it. This is sort of like the, the actual sections that we need to show into the, into the element. We've done this before. Let me add another fabric here and just apply it to them so that we have a different color and we can actually see what's happening here. There we go. And the disguise, as you guys already know, are gonna be sewn into this element right here. And once that thing is in place, we're just going to, what's the word? We're just gonna use a clone over to give them a little bit more volume and have a little bit more like lift to the whole thing. I'm gonna, I'm gonna keep this again. I'm going to do this off camera just to save you guys a couple of minutes. I know that we usually record every single piece of evidence, just some really boring. It's just like stitching everything, like going to the specific part. The other thing that we're missing is the velcro patch. So that tells me that this piece right here will only go to the halfway points right there. In this thing we're not going to see. And it's gonna be the other way around with this one. We are only going to have, we're only going to have the interior one like this. So those are the stripes that we're actually going to be seeing. Which means again that if we go here to this area, this is where we will have the Velcro patch. So let's just add an internal rectangle. Like right about there. We go. Select that pattern, right-click colonists pattern. That's it. We just, we just saw this free service. Back into the little section that we created. They're careful there because there are so many points now. We can just look. So the whole thing. There we go. On this one, we're going to right-click again after this internal line. Probably like two millimeters hit. Okay? And then this piece, we're going to the whole pattern. We're going to right-click and lyrical, and over there we go. So we simulate. That's the bulk of patch. Right there. It seems like either I didn't like so it's correctly or you think I didn't show so it's correctly. But yeah, that's pretty much it ends. Finally, we're gonna do the same thing on this side or on this pattern right here. Instead of doing the layer clone over, under, I think I'm just going to add the little borders, so I'm just going to duplicate this thing. Then select the shape Right-click cotton. So just delete this thing right here, and we're going to use this again. We definitely need to increase the, the particle distance for this thing. Really, really, really low. So like a three that we're just going to free. So this, We're gonna free. So this, this the inner side. The inner side. There we go. Let's start helping this thing. I love it again. We just select this guy, right-click and superimpose over. Closer. A little bit weird. I'm not sure where that one is looking like that. But yeah. I'm just gonna go into the what's the word? I'm just going to finish this off camera. I guess it's just the little detail here. And in the next video we'll finally this by getting into the character and the just attaching it to the leg. Hang on tight and see you back on the next one. 34. Final Assembly: Hey guys, welcome back to the next part of our series. Today we're going to finish up our soldier with the final assembly. So yeah, let's get to it. This is the final result folder, little bag, and you can see all of the different elements are now pasted. And that was just time to see how this looks on the character itself. So we're going to open the project and work in that, open, the big one, the big uniform. Now, I must warn you, or at least let you guys know that we are working with a lot of things with law simulation, a lot of patterns on level of fabric, a lot of stuff, right? So sometimes if your computer is not strong enough, you might be struggling a little bit. If that happens to you and you need to use his clothing and other software or something, which we're gonna be talking about in the next chapter. Tried to do it in parts right now I'm combining everything because my computer allows me to do it. But yeah, just just keep that in mind that you can actually do this as a separate piece of so let's import this. We're going to add only the garment. And as you can see, it's a right there. The first thing I'm gonna do immediately after this government comes in and I'm just going to change later. So like a four or something necessary to go all the way to 444 is fine because I don't remember everything else was in layer 0. Yeah. Let's see related, Let's see how this goes. As you can see this thing, push us out. And normally that we're going to start creating some really, really nice wrinkles here as well. On the pants. It's working. It's working. Well. It was like, oh wait a second. Second We did the avatar. We lost him. Bring him. There we go. Now let's just similarly it again. That way only the back should be like pushing out. We can help a little bit. You can see it's becoming quite, quite slow, perfectly normal. Now one thing we can do is we can stop this simulation. For instance. The best you've Control K, Control K. And that way we only need to worry about this lower part right here. Maybe now it might be time to grab these two guys and the other frozen. My bad, my bad There were frozen. There we go. Now they're out. And as you can see, it's trying its best to follow the forms of the of the leg. There we go. Now, I do not like rotate this around. So what I'm gonna do is we're just going to grab the whole back here. And over here. I'm going to let rotate this and get it in there. And up here, we had to scale it up or something. This will be the moment to do. I don't think so. Let's give it a go. There we go. Let's give it a little bit of frozen again. You know what the other section was frozen? Control key. There we go. Should be pushing out. There we go, finds its way out of the layers. And that's his best to just greater than nice form are there around the leg. That's, that's pretty much it. Now you can see some of these patterns are having a little bit of a hard time, so just give them a help right-click superimposed over. We're going to get a better effect there on the back. That's it guys. As you can see, this is the final result. I'm just going to grab everything here. Control K, Control K. Nothing is there. Grabbed everything again and go to layer one. Now, as I always mentioned on my courses, not impossible, but it is tricky for me to share all of this information in a manner that's of course, entertaining and efficient to you guys. For this character, I think we spent probably like two or three hours are doing the whole, the whole outfit, all of the different elements and stuff. If this was real production, I would probably spend up to a week doing all of this things like, It's a lot of work. I did this a little bit fast. We skip a couple of things here and there to make sure that it looked as nice as possible. But things like this, especially for production for a movie, for a series, for B, the gaming for this is gonna be the main character is something really important. You want to take your time. So be patient guys, that will be my best advice for this final part of the garments because we're not gonna be exploring any more tools are right now. Instead of marvelous designer, we've pretty much covered everything that we have to cover. So make sure to practice a lot. Make sure to use all of these examples as sort of an exercise. And if you want to challenge, the best thing I can suggest guys, is just look for a government, be it from an animate, from a game, from something and try to replicate it. So for instance, I don't know like there's this thing called willfulness or I don't know the name in English, but let's just gestures. Gestures. Maybe I tried myself in, Hey, how would I do like the gestures hat? How would I do this thing right here? How would I do like the socks or shoes? Even challenge yourself with all of the things that we've learned so far to create something from scratch as, as you saw throughout this exercise row, this five chapters. Marvelous designer is very simple regards to the tools. There's not many tools available there, so of course a lot of them. But what I mean is it's not like hidden menus and stuff. It's more about knowing how to approach different governments in order to create whatever you need. In the next chapter, guys, chapter number is six final chapter, we're going to be talking about different ways to export this thing into other softwares. So we're going to export this thing tomorrow. We're going to export this thing like the garments to Blender and we're gonna x squared. This thing is to marmoset this. Well, I'm gonna be showing you how to do a quick setup for each of those renders. So if I'll talk about that on the next video and the explanation on how to export. Thanks. Yeah, that's it for now guys. I'll see you back out the next one. Bye bye. 35. Zbrush Integration: Hey guys, welcome back to Chapter number is six to the organist started with all of the integration tools. So I'm gonna be showing you several different workflows and how we can bring all the things that we've created here into other softwares, right? The reason you need to understand, or do you need to see this is usually you're not going to be doing just a garment here instead of a marmoset than that sit. Usually this thing is for either a game commercial films, something. The garments are gonna be either simulated further on some whales, there gonna be a baked into normal maps were a games. They're gonna be rendered in other softwares for production or promotion or commercials. There's a lot of different things that you can do and it's important that we know how to bring things in and out of the software to also like fixed. So for instance, you can see there that we might find a couple of things that are not working exactly as we would expect. So today I'm gonna be talking about ZBrush integration that how to integrate all of those things with feverish. Let me grab this guy right here, the shirt. And by grabbing the sharing going to say File export, and we're going to export into an FBX. I strongly recommend that you export things into FBX is just because they tend to be a little bit more complete. They have more information than a simple OBJ for instance. And we're going to call this many people shirt. Now, this is not difficult, like the most tricky part is this one right here. So here we need to decide how we want to export this elements into, into ZBrush. Do we want this to be a single object, meaning just like everything combined into an object, or do we want each parent to be a different object? In this case, I'm going to select single object. Do we want to keep the points on welded or do we want to welder points? This is very important and it will depend again on the types of workflows that you're working with. But more often than not, I've found that Well that works better. So I'm going to keep the wealth. If you have a thick surface like the leather we have here for the brace or you're gonna select thick, but in this case we're going to select thin. As for the UVs, you're going to be this, whatever you have here, That's gonna be your UV map. Pretty much. Usually I like to modify my UVs and arrange them in a different position inside of Maya or any other software. You can select the decisive. It really doesn't matter in this case, because we're not exploiting any, any map, which by the way you could if we were to select for insulin, have a diffuse map. This is what we're going to get. Now as you can see, the UTMs or this is going to come like export into you them type, which is not great. That's why I don't usually like to export our textures from here because it's a little bit easier to just read texture them later on. In this case, we're not going to export anything and then just hit Okay. As you can see, we're exporting everything here. If we take a look at our Chapter project files, chapter six, this is the FBX, a little bit heavy because there's a lot of triangles of course. And now we're going to go to ZBrush. Let me open super short quick. If you're not familiar with zippers, by the way, don't worry. I wanted to make this extra chapter. I consider this to be the final lecture of chapter because we cover so many softwares. And I, of course I understand that not everyone's gonna have familiarity with all of them. So just jump to the video that fits whatever you are trying to look. Here. I'm going to just get import. Let's go to Chapter six again. We're going to improve this shirt right here. If you open this important, do we want to import anything? And I'm just going to keep it like this. I'm just going to hit okay? Right now I don't want to import anything. And as you can see, we actually imported everything right here. Now, here's the problem, though. As you can see, this doesn't look too nice. We do have a lot of triangles. I mean, the folds and everything are looking quite, quite nice, but it doesn't look the way I would like to chew, to look. And the way we're gonna be fixed in this is a first, we need to divide all of them into their respective softwares. You can also see that the razor that we have or didn't really do it within the exponent properly. The stitching is geometry. That's why I don't like using stitching as much I preferred to do that at the very end. So the first thing I'm going to check here is if I turn on my poly groups, you're gonna see that everything is the same poly group. But if I go down here to my poly group options, I can select this option called auto groups, which is going to apply a single polygon to every, like, every different, like all of the different pieces. Right now we're only focusing on the shirts. I'm gonna right-click and control and shift and on the element to isolate it. This is what we got. And what I'm gonna do this, I'm gonna, I'm gonna say split, split hidden. Now this shirt, it's going to be its own sub tool and everything else is gonna be down here. Now, this is where we have. Again, it looks horrible and it doesn't even matter reviewed dividers. And if I press Control D, Let me by the way, let me turn on the shortcuts. There we go. Even if I divide a couple of times, we're still gonna get that sort of like cardboard. The effect, that's how I like to call it. It's like a, like a cardboard thing. Here's what I'm gonna do it, Here's what I recommend whenever we're working on this sort of thing. I am going to divide it a couple of times just to give it a like, a softer, softer look at all of the clauses connected, which is important. So if I take a look at the polygons, you're gonna see that everything is pretty much connected. Like there's no holes, There's no like a manifold geometry. It's proper geometry, which is, which is great. We might have a couple of extra little things here, but due to the clone overclock under, what we're gonna do is we're going to duplicate this guy. And on this top guy, I'm going to rematch it CRA meshes. So I'm gonna go see Ramesh. We're going to click serum mesh. Now what somebody mesh does for those of you that already used C, whereas you might already know this, it will recalculate the surface and they will try to create a new, a new flow of topology based on the direction of the scenes, right? So if I isolate this one right here, you can see that this folds, they're going in a, in a nicer way than nicer direction. However, we're not matching the same amount of detail that we have on this one right here. It looks good, but it's not there yet. You can also see that this thing is right here. Since they are like over and under, that would create non-managerial geometry. So we need to be careful with that sort of thing. Now, on this one right here, on the new one and the new topology that we have here. Let me, which one is this one, right? Let's dynamic solo. There we go. That's the dirty one. Scrub this one. Did I not I think I went back on. There we go. This one I'm gonna divide a couple of times. I'm going to say Control D, control D to get more polygons. And then with voltage shirts turn on. I'm going to select the new one and I'm gonna go into project. And we're gonna say projectile. What's going to happen is super. She's gonna sample the high polygon that has a jury topology. And it's gonna try to project all of those details to the clean ones. So now we take a look at the clean one. You're going to see that we recover most of the wrinkles. We get the proper thing. Of course, these things right here are looking at horrible, horrible, horrible. And again, it's happening because of the over under layer. For those pieces you might want to keep the order ones. I'm gonna go to poly groups. You can say other groups. As you can see, those are different poly groups. I'm just going to delete those geometry and delete lower there. Sorry, not only lower delete hidden. So we're gonna go into geometry and then modify Topology, Delete Hidden. That way we delete those like little things. And then on this one, which was the dirty one, we can do the same thing. I'm just gonna say. Poly groups. Let's try other groups. It is welded here, so that's why it's having a little bit of a hard time. What we'll just isolate this little pieces or export them as a separate pieces from marbles and use them for the bank. Because even though we have reconstructed the shirt right here, that doesn't mean that this is gonna be our game already shared. It's way, way too high. But the cool thing is now that we have clean topology like squares and everything, we can divide this even further and we can keep on sculpting. That's, that's like the big plots of the workflow that at any point, you can just continue sculpting here instead of ZBrush. And all of these things are gonna be baked down into your normal map once you properly reach, apologize to this thing. We're not gonna go over to Rachel bulgy process because that's of course a lot more time-consuming. Right now. I just wanted to show you how to properly bring the clubs here inside of, inside of ZBrush. Now, sometimes you will find certain closet are working quite nice. You can also try DynaMesh. The problem with DynaMesh is that it will try to solidify things. So that's why I don't really like it. I'm trying dynamics there. Let's see if it doesn't crash. There we go. So see how we close the things. Now, if you're eventually going to reach apologize this thing, you could work with this, and then just like we apologize and bake from it, it's perfectly, perfectly fine. But I prefer to see where measure methods, because all of this like wrinkles and we have the right, there will be pretty much impossible to get any other way. That's for the, for the small objects, like thin objects. Now for the big objects are for this guys right here, like the eraser. When we export this thing, I wanted to export all of the base. Well, let me open the racer project. There we go. When you're exporting this, I recommend not exporting the buttons. To be honest, if you can delete the buttons, that's a little bit better. I would rather rebuild buttons later on. And the reason is sometimes that the bulgy gets decimated and increase some weird stuff. So I really, really do not recommend exploring. This becomes a little bit tricky. However, if you have some particular Bunsen, go ahead. Now remember we're using fixed that thick texture for this one. So when we're exploiting this guy's going to say File Export. We're going to export this again as an FBX. Let's call this mandible eraser. Let's save. We're definitely going to export this as a thick object. Super, super important that we do it as a thick object because otherwise it's not going to work. Now here instead of ZBrush, select this guy, say Import and we're going to import the eraser. As you can see, we have the bracelet right there with the thickness that we have. Now the problem with this one, this is, you can see we have the stitching and as I mentioned, this teaching is real geometry. You can see the little cylinders being created there. If it works for you, that amazing. Just keep it. But again, those are the kind of things that I usually prefer to redo here instead of, instead of ZBrush or sometimes directly on the texture inside of Substance Painter. So same deal. We're just going to go poly groups. We're gonna say other groups. As you can see, we have all of those different groups. Seems like we have an inner group there on the center. I'm going to start hiding stuff. As you can see. I don't think it's welded the points now. That's a no-no. So if you do get this where there's a lot of points, you definitely want to go into geometry. And then weld points right here, which should give us a better effect. And now if we do poly groups, and then other groups, There we go, we should get better results because right now before this we had like a, like a really, really intense division of poly groups. So as you can see now, we select all of the paths. We only are left with the stitches, I'm going to say group visible. So all of these teachers are in the same group. And I'm gonna say split hidden. That way if I need this teachers, they're by themselves and in another group. And then here we can go to, let's give it a couple of divisions to soften them up. Like this. Looks kind of weird. Let's go geometry. And we're gonna say DynaMesh. Keep groups turn on, secretes the resolution a bit and hit DynaMesh. And there you go. Now from here, of course, it will be like the, we will need to go into the sculpting face. So there will be sometimes where the PCR will look like nice because of the shading and then you bring it in sewers and then it's not great. But one of the cool things about marvelous is that as you saw when we did this piece, it was really, really fast trying to create this piece instead of ZBrush could take a little bit longer. And I do think that we get a little bit of help. And the like sculpting here instead of syringe shouldn't be that much of a problem. Again, you just divide them and start adding all of the different things that you want, zeroes you will definitely lead you get into a more advanced level of detail for a specific pieces. So yeah, that's pretty much it guys. From here. Like you guys probably know the workflow for Maya and for all of the other softwares. Bring the high poly, bring the low-quality bake, and just continue creating the assets you'll want. So again, this is just a chapter to give you ideas on how to continue the workflow. Because more often than not, this thing that you have here instead of marble Designer won't be the final piece that you're gonna be delivering. Yep, that's it for this first video, guys, in the next one we're gonna be talking about substance painter. I hang on tight and I'll see you back on the next one. Bye bye. 36. Substance Workflow: Hey guys, welcome back to the next part of our series. We're gonna be talking about the substance workflow. We're gonna be doing a very, very cool thing here with our medieval cow. So this is the asset that I selected to show you this workflow precisely. And we're just going to be exploiting this thing right here. Now, as you can see, if we go into the amount of points that we have, the wireframe. There we go. This is quite heavy and we can make it even heavier. For instance, let's select this guy is right here, where particle distance ten. Let's go to particle listens five. So it's like really, really smooth. This could be the acid that we actually, this could be like our high poly. So what I'm gonna do is I'm actually going to be doing a nice little trickier. But before I export this as my high poly, I want to create the proper UVs. So I'm going to jump here to the UV editor. And what you're gonna see is that right now all of the patterns starting in different places. So you definitely want to start bringing everything into the same place. And the ideally, each pattern should be like by itself. So as you can see, we have a couple of different copies here. That's not something that you want. The other thing, because I'm saying is that the difference in texture size is quite noticeable. Like this is the ribbon supposed to be the remnants humongous. So let's make it smaller and just start bringing the pieces here. So this one's go right there. These guys are really, really small, so let's make them bigger as well. They're roughly at the same size. We can also bring this into Maya. Unfortunately, we don't have like an unfold. What's the word like unfold option right here, we just have the UVs. We're going to have to go to guesstimate the general size of things. Let's make this a little bit smaller. Like that sounds a little bit closer to the proper texture size. Now that we have this, I can start making them a little bit bigger and kind of like playing Tetris. We can start getting this thing into positions that they might remember. One of the rules about UVs is island shouldn't be touching each other. Islands shouldn't touch the border. Islands should be as close as possible to their size. The interaction should be pretty close. Here I want to see if I can grab two of them. Just got it like all of them. The reason why I'm doing this sort of like the vision where, where I wanted to make sure that all of the elements are, have their own space. Because otherwise the normal map is going to start creating a weird bake on things. So you don't want to have double-sided things. Only do you need on those who need them. So as you can see, we have this squares. That's the double-sided square on the the patterns. I mean, it's not the end of the world if you if you do have them, I recommend having a separate yes, it's a lot of UV space. And it might seem like it's like wasted UV space. But it's what we need if we want to have everyone, everything or every element to have their own stuff. I'll do one over here and then I'll show you how the bake works with all of the other ones so that you guys understand this thing and then we'll fix it. So again, move them here so they're not touching. There we go. There we go. So this is gonna be my hypothesis. So again, I'm just going to say File export FBX, and we're going to export this as medieval. Cow. Now to, I'm gonna weld is definitely a single object is fine and just hit. Okay, So that's the, that's the medieval cartilage. It works perfectly fine and we have what we need. Now unfortunately, we can't, we can't bring this into a game. It's way too, way too heavy. A little quick trick that you can use is you can graph all of the pattern pieces and select a high particle distance like 20. That's as you can see, a little bit more resolution friendly. And this can be our low polygon or low poly. So we're gonna say File export. And I'm going to export the FBX and this is gonna be medieval call cow. I'm gonna say low. For those of you that are aware of the general process, What we're gonna do is we're gonna bake all of the details from the high poly into this low poly without having to do the topology. Now this is not clean topology where the way we could get away with this one, because technically the rigor could solve this when reading a character. But usually you're gonna have to do like, you want to do like a manual way topology. Now, let's jump into substantial real quick. The way substance works as we're gonna be using the racing substances that we use for the texturing part of this chapter back when we were in Chapter Two. Two texturally these guys, but there's a couple of extra things that we can add to make it look even better. I'm going to create a new channel or new project here. We're going to go chapter six and we're gonna say, select the medieval, call it low. K is fine, I'm just gonna hit okay. This is where we have the California, it's transparent on the inside, but as you can see, this looks quite nice. It looks soft. It looks with a low, it has a lot of folds and stuff. It looks really, really nice. I'm gonna go to textures and settings, bake mesh maps. Let's make this up to k. And we're gonna select the high poly, which is this one right here. We're going to go down here. And the only thing we want to change this, I'm going to change the anti-aliasing to two-by-two. And then I'm just gonna say bake for fabric one. As you can see, the software will grab that information and it will make ambient occlusion, curvature, thickness like all of the maps that we normally use here instead of, instead of morals and look at this. I mean, just adding him to the bush. And as you can see, it gives us how far nicer looking. Cow. Now let's add a very quick texture. I'm gonna show you a very quick texturing process here. I'm going to grab this fabric. Let's do this fabric aligned rough. Look at that like just the amount of detail that we can get here is gonna be amazing. I'm going to of course increase this, let's say five. And as you can see, we get this, the seam lines should be on the same places where this thing, where this thing connects the patterns. So as you can see right here down the middle, but it's barely noticeable, right? Barely, barely noticeable. And usually if this is like a peasant and he's wearing this thing on the fields, he's gonna get a dirty, right? So I'm gonna use a rust layer here. Bring this up, right-click, add the black mask, right-click at the generator. And we're gonna select this dirt generator, which as you can see, it will immediately plays a jerk only on the calculus of the thing, on the cavities of the, of the element. And I'm of course gonna change this to like an overlay and bring the opacity dynamics. I don't want to smudge there just a little bit. There we go. And we can play around with the dirt level. We can play around with the contrast. So I'm gonna keep it really, really soft. And I can even right-click and add a paint layer. And I can manually paint like certain areas where I want this to be a little bit dirtier. Let's grab this term right here. Has like a big staying right here. Let's go for a softer like this. There we go. I can just paint in where I want this, like Cape, there'll be a little bit dirtier. And this is what we would do for a game. We will import the clots. As you can see, the simulation, everything looks quite, quite nice. We would use all of these tools to add more story to the whole thing. I'm gonna show you, uh, one very cool layer, this one. I tried to keep it secret, but that's a really powerful one. I'm going to have the field layer here. It's just going to be a wide layer, just a color information. I'm gonna generator or black mask generator, and we're gonna use something called a light generator. The generator is kind of like pointing a flashlight on the character. And we can move the direction of the flashlight. And then we can modify where this thing is like heating. If you want to have a layer of dust or snow, in this case, it looks like snow. You can do something like this. But what I wanted to do or what I like to just say I wanted to change this to leaner Dutch. Then like a, like a nice beige color and play around with the intensity. So it kind of looks like it's a little bit washed out on the top right there. Again, this has a little bit more depth through the hole to the whole cloth. As you can see, instead of having just like this very basic fabric, we're adding depth with the shadows and depth with a light that it makes it look really, really cool. So, yeah, this is it guys. I know this is a very, very short video, but as you can see, it looks quite nice. We could have been activate displacement here instead of a substance. Let me see if we can do it here. I'm gonna go into Display settings. I'm going to go to where's it? To the shader? Here it's supposed to, oh yeah, this enabled. We didn't have the skill. We're gonna do a couple more subdivisions here. I just need to make sure that the fabric has hide information. There we go. We can do a little bit of height information here. It's going to let it, this is a displacement map. So we're pushing the, the detail of the object will be more definitely going to go here to the height and use the layer slider to control the intensity. But as you can see, it's going to give us a very, very nice effect. So this is how we would texture a complete cloth clothing. Of course, you will need to do this for each specific part of your object, but this or that extra energy is gonna be exporting. Now as you start here and you can see it here in the segments where we did separate like this little line. We have some nice bakes in the second. So the overlap, as you can see here, there's a little bit darker. That's because things are like baking on top of each other. If you want to avoid that, makes sure every single line, every single island on your pattern, especially for the over and under. Thanks. Everyone has this small space for themselves because otherwise, again, we're gonna get this very weird effect. But yeah, let me, let me show you here how in love with a render. This is the IRA, by the way, which brings us into a real-time rendering. And we can go here to the options. Let's change the environment. I really like using the Corsica beach. This is a little bit more like consciously. And this is how you would actually expect to see this. This is specific garment instead of, instead of a game or something. Now, I actually want to show you one more thing here. Inside of the substance, we actually have another tool which is a stitching tool. I'm going to create a new field layer. All the way up here. Look forward to stitched short sit. Here we go. There. We have this stitches crossing. And if I double-click, I'm going to right-click add black mask. Let's go into paint. Here on the paint layer, on the paint element. I'm going to use this stitches. We're going to use our spacing to here. Let me grab a normal brush first. Basic hard. Right now what's happening is of course, we've got the stitching. Go. Wait, wait, wait. I'm I'm I'm messing this thing. So give me just 1 second. Sorry, my bad. It's not the fillet here is the paint layer that we want. So we're going to do a paint layer here, which is this little brush. And now under the brushes here we're going to select this element. Let's reduce the distance here. And then when we paint, I'm not sure why I'm doing it over here. Let's go all the way to the top. So again, paint layer, double-click here. And that when we draw, as you can see, that's the stitching right there. So we can just go here. Let's make it the stitching a little bit bigger. And we can draw the stitch on top of the element right here. Pretty cool. So that's how, that's why when we were talking about marvelous. That's why I usually don't like having this stitching on the top stitch tool. I prefer to do right here because as you can see, we get a really, really cool effect look at that. We can really, really tight. Yeah, it just looks, it just looks away way better. If you asked me the same thing here, I'm just pressing Shift and doing this whole pattern. Now, the cool thing about patterns, and since they're like really straight, I didn't have to break my head trying to make sure that all of the stitching is fall into place. We can just literally follow the pattern lines and we're gonna get there. So for instance, here on the, on the cows, we could try doing like going around the cow. And now we're going to have a nice stitching going right there for our, for our character. Of course, as we've mentioned before, you can invest as much time or as little time as you want in each asset. The more time you invest on two things, the better dirty and look, but yeah, this is, this is how we would use this workflow, this very fast workflow of exporting a high version and then a low version of our assets here to Substance Painter to give them a little bit more life, a little bit more damaged, a little bit more elements and create even better looking at garments. Yeah, hang on tight guys, because I'll see you back on the next one when now we're going to start, we're going to start talking about all the different rendering engines. We're going to see three rendering engines. We're gonna see Maya, we're going to see blender, and we're gonna see marmoset. I recommend that if you do not know any of them, you still watch to be too just to know like the gentleman basics of it, but just choose your favorite one to create the final renders for your pieces. That's it for now guys. I'll see you back on the next one. 37. Maya Render: Hey guys, welcome to the next part of this chapter. Today we're gonna start with Maya. Before we bring the cloth from marvelous. I wouldn't give you guys a quick rundown of the render settings. Now, I'm not gonna go into the Maya interface. I'm not gonna be showing you where everything else, we're explaining everything from scratch. I'm assuming that those of you watching this video already know a little bit about Maya. I'm just going to share a really quick setup that we can do here for our acid. And some of you might have already seen this sort of setup with the ligand, which has been famous because it's very famous called a three-point light setup. We could do it a little bit more in the, in a fashion style. The first thing we need to do so we need to create an infinite background is going to be super supreme important for the, the general look of our elements right here. I'm just going to push this thing up like this. There's a couple of ways to do the infinite backgrounds. I like doing it this way, just to generate the curb right here. And then when you press F3, this thing is going to be some of the doubt. I usually don't leave the floor. I have a really, really soft curve on the floor so that it looks a little bit better. Let's make it bigger. Push it back and push it like here. Now, let's jump real quickly and we're gonna be using the uniform right now. So I'm just going to say File, File Export. And we're going to export this as the as FBX, of course, for the SPX. And we're gonna call this school uniform. And in this one in particular, I actually do want to save this as multiple objects. The problem with doing this though, and just keep in mind that I'm only doing this for this particular part of the exercise is that these scenes of all of the parents are not going to be welded. So if you tried to do any other thing, the things that are going to just fall apart. So I'm just going to hit. Okay. What I'm hoping to get here, what I'm hoping what's going to happen here is when we do the FBX or where we import the FBX, we should also get the materials. The materials are gonna be important because with the materials, we're gonna be able to quickly select them and assigning materials that are closer to what we're going for. I'm going to select this school uniform. And as you can see, we have this right here. It automatically, as you see here, added the materials that we want or just different than yours, there's just gonna be probably just basic laboratory function in this case. It's fine. But yeah, this is, this is the one. So why do we need this? Because of course, we're gonna do, we're gonna scale this up so that it matches the overall tone right here, there we go. Cameras, very important to have a cameras, so I'm gonna select the camera here, hit panels live through selective. And finally shot for our element right here. So let's look really nice, like fashion mode right here. Something like this. I'm going to rotate this around a little bit and just scale it so that we don't see anything. And I wouldn't go into the lighting setup where the lightning part, one of the best sites that I always recommend for light setups or for HDR is the poly Haven sites in polychaete ribbon. We're going to go here to the HDR. For those of you didn't know, high dynamic range images which have a lot of lighting information that we're going to be able to get into our characters. I'm going to go to the studio. And usually for this sort of characters, we have like a really, really bright, really intense a studio setup. So I'm gonna go for this one right here is too small too. I'm going to download this. This is free by the way. I don't think we're gonna have a problem if I include this on a 148 files. Of course, you would usually say the project inside of Maya and then get this thing in there. But I'm gonna have it here on chapter six for you guys. Show this one. Just bring this, they're perfect. Let me copy this path because in Maya, we're gonna do is we're gonna say Arnold lights and we're gonna create a sky dome light on the color. We're going to assign a file. That file, we're going to navigate to that chapter six and we're gonna select that a XR right there. Perfect, Now, you definitely want to align this so that we pretty much match the same way the thing is setup. So as you can see, this backlight is coming there and then there's this thrombin, of course, movie than modifiers as much as you want. But I'm going to keep it like that. I'm going to go here to cameras. The cameras panels look through selected so we can see the main thing right here. And now the only thing I need to do is I'm gonna say Arnold render. Technically we don't have a lot of lights right now, but there should be more than enough to see something. And as you can see, this is what we get. Very basic light setup. I like it. I think it looks cool, but we can make it better. So the way I like to make this or use this, HDR says I'd like to use them as a base. So I'm gonna go here to the options. I'm going to bring this down to like a minus two. What that will do is it will bring the exposure down. So now there's not gonna be as much light coming into the scene, but we're going to have this very nice ambient light over the whole thing. Now, I'm gonna go here into Arnold lights and we're going to create two area lights. The first area light is going to be like a big soft area light coming from this side, from the right side. And of course, if we take a render right now, nothing is going to show on the elements because we haven't set it up at anything, any sort of elements. So the exposure, Let's bring this up to like 15. Not enough. Let's go 18. Not enough. Okay. Let's go 20. There we go. It's a little bit too much. Let's bring this down to like an 18. Adds a little bit better, but I would like to have a little more intensity. So let's do 19. I think 19 is the perfect ratio for the thing. We're going to stop now. And as you can see, we're starting to get something that looks quite, quite nice. Now I'm going to go to this guy right here, Control V. I'm gonna duplicate it to the other side. But this one's not gonna be a big load, is gonna be a small light. And I'm gonna modify something called the spread. The spread of the light here instead of, instead of Arnold, we'll change the direction of the race. So if we bring the spread down, this is gonna be like, I like, again like a flashlight shining on specific parts of a character. And as you can see, it's gonna make it pop a lot more. Of course, the intensity is now way too high because the spread makes it a lot harder to appreciate. But there we go. This is what we would do. And as you can see, that looks quite, quite, quite nice. We have all of the things that we have. A marvelous designer. You can see that the clot looks really nice. Yes, there's a couple of seams here and there that are visible. And of course the materials will suck like this is a super, super bad material overall. But the garment looks nice. And now we have this very cool light setup for our elements. I think I'm going to increase the spread just a little bit more because I would like to have a little bit more light there. There we go. And that of course, now that the spread is a little bit higher, we could also increase the intensity of the light a little bit more. Another thing that you can do, I really like doing it, is if you see that there's too much of a temperature on the scene, for instance, right now it looks a little bit too cold. I can turn on color temperature, for instance, on this one. And let's make the rim light a little bit warmer. Right? Now. We're gonna have a nicer effect, just a very soft fade there of like cold and the warm, which is going to make the contrast of the image a little bit better. Yeah, This is looking good, but we definitely want to fix a lot of things like ethics. Let's start with something basic. Let's start with the buttons. So if I select the bottom right here, you're gonna see this match shapes right here. They have this sort of like red color. It's supposed to be like a plastic, but it's not looking like a plastic. I'm going to grab this four buttons. I'm going to right-click assign a new material. And I'm going to go into Arnold and going to assign a AI standard surface. First thing I'm gonna do is I'm gonna change the name. I'm gonna call this a red buttons, the color of the button. We're gonna grab a dark red color, something like that. That's it. I'm gonna go here. Let's render again. And now the buttons should have nicer reflections, a nicer finished, nicer effect. Everything they should be looking a little bit better. Now for instance, the student, we definitely need another material in a very similar way to how it works inside of, instead of marvelous, we can actually assign specific material. Now, one big question is, okay, There's a lot of patterns. Is there a quick way to select the same material for everything? And the answer is yes. Well, first of all, you can grab this guy right here and just change this material to an AI standard surface. And it will adapt with, as you can see, it seems like each one has its own lone material. Well, that's a poem, but not no, not another big issue. So I'm just going to select everything here and start like the selecting the patterns that we don't need. Like sleeves, belt, leaps, the pattern pieces, that's the that's the shirt. Yeah, that's pretty much it. I mean, as long as we don't see it, we should be fine. So I'm just going to add up the bonds. Of course. I'm going to right-click. I'm going to sign a new material again, are no AI standard surface. I'm going to call this M coat. If you remember from the reference in our inner project files. Decode. This is dark, just like a dark cloth color. So on the color we're just going to bring this down. It's quite rough. So I'm going to bring the roughness quite up like this. Now when we render start to get this sort of effect, I think we're still a little bit too rough. Let's go back to the M code. Let's increase the roughness a little bit more. There we go. That's a little bit closer to what I'm looking for. There are some very nice, very nice effect here instead of RNA that we can use to give this thing a little bit more light. It's called the where it sits. It's supposed to shoot the sheen, which this is what normally happens to like a bell, but the effects, so if we go down here to the shin, it's called other ways in random and that's why I was having a little bit of financial finding it in render Monday, call it edge color or something like that. Here on the xin, we can change the color of the gene, which in this case wouldn't be the case. We will keep it like that. Or we can go with a lighter gray and then we can change the weight of the sheen as well. Right. So we go for a softer, softer shin. We're not gonna have as much swash effect right there. And we're going to have that sort of little fuzzy effect on other parts of the piece without affecting the main, the main elements. As you can see already there are uniform is looking quite buy nicer because you have this very nice soft, fuzzy effect. But you know, and I know, and everyone knows the, one of the most important things about cloth is a little pattern texture that you get, right? So what's the best way to do it? Well, unfortunately, there's not an easy way to do it. But using substance sources I've mentioned before, it's a great way, a great way to do it. So I'm gonna show you real quick how to integrate substance source here inside of Maya. Would go here and we will go for like a codon, a basic codon, like something like this cotton canvas. Let me take a look at the green. Yeah, that looks, that looks, that looks interesting. So I'm just going to download this as bs SPS, our file. I'm afraid I can't share this with you guys is specifically due to the licensing of this. Thanks. But if you have access to substance or it's a great way to download it. Another option is if you have access to substance painter, you can also download them from there. Or if you'd go to a poly haven, remember we have some textures here that we can use. The annual would find this sort of stuff like against you. Look for fabric. There's a couple of fabrics here that we could use. Not all of them are gonna be great, but it's what we have for free, for free substances. In the case of Maya, if you have a substance archive file, there's the substance plug-in right here. And what they can do is I can go to the Hypershade. We can see there's a lot of materials there. That's, that's something that shouldn't happen, but we can just delete them later on. I'm going to press Tab key here and I'm gonna write substance. And we're going to import a substance texture node, which is this one right here. And on the substance texture node, the only thing we need to do is of course, load in the substance. So I'm just going to load in diem cotton canvas. He'd open. We're going to get the preview here and now we need to convert this into an Arnold shaders. So I'm going to select Arnold here. I'm gonna say create a workflow or rather are known and create a network. That was gonna happen is a new network is going to be created with all of the different textures that we need utilizing that specific, that specific archived that I'm loading. So as you can see, the color gets connected, the normal map gets connected, even the displacement of that gets connected. I don't want to use displacement my brain now, I'm gonna go down here, I'm going to turn off height. That way we don't have a displacement map. And now here, down here is what would change the color. So I'm just going to sample the dark cloud color that we have on the actual element. That's the, that should be the color of my canvas. Let's call this M code archive. So I don't know that's the substance archive. The only thing I need to do is select this guy. That's the M code. So here's a quick way to select everything. Just go here, right-click and then select objects with material. Select all of the objects with the cold material, right-click and say assign existing material, and we of course assign the new material if I can find it or you can also directly do it here. So right-click select obviously Mitchell and then the new one, this one M code archive here, Right-click assignment, you also selection. Now, all of them should have that sort of effect. Let's go to the render. I'm gonna save this as snapshot just showed you guys see the difference. Now let's render it again. Yeah. I mean, it's day and night. Day and night. What you can do with a nice texture. This is one of the secrets of the industry and night texture, a nice texture will always, always, always give you much, much better result. Now I'm gonna change this view to my camera shape one, or actually to the perspective view because I want to see it up close. You see that the size of the fabric? Yeah. So see the size is way, way big, like the size of the normal map is way too big. So we're gonna go here to the place to detect your map. And we're just going to repeat this ten times. And what that will do is it will tile the texture will ten times. And then now we should see a better distribution. Rather always takes time. That's something that you guys already know. And if not, well, you're gonna be this covering it right now. Yeah, don't don't go. Don't get scared. But all of the time that this might take, Let's just render again. And there we go. That's the way we would do it for the rest of the uniform. So probably most of the renders that you saw on the prior page, this is the this is the thing that we're following. This is the sort of the patterns and the elements that we're doing to make sure that this looks as nice as possible. So, yeah, this is it guys, this is the integration with Maya. Of course we can go to the Options here and on the size. Let's change this to full HD. So hg19, that when we render, there's gonna be way more pixels on the scene. And that of course, will allow me to see way more detail on the cloud itself. Let's do leggings. I think the ligands, we don't need the detector as much because they're a little bit like shinier. I'm going to grab the ligands here, right-click assign new material. Arnold, AI standard surface. This is going to be really dark as well. These are gonna be a little bit shinier now the shiny beloved Shrina, and we definitely want to have some sheen watching. Let's take a look. Way too shiny or way too dark. If your computer is powerful enough, you can leave this thing turned on and then just play around with this thing right here. That's better. I think we need to increase the roughness. There we go. Much better. Because either way, how a slightly different like effect than the ones up here than the black up here. Now technically this or like leggings or stockings, I think they're called we can change them in their transparency as well. Like give them a little bit of transparency. That would be all the way down here into advance geometry and the opacity. Like if we bring the opacity, of course, all the way down to 0, we wouldn't see them. But if you bring them a little bit down, we're going to start getting this sort of semi-transparent effect. You can see that we're seeing, we're seeing it through. We don't have a moral right now where it wouldn't have the avatar. But that's in the fact that you can't go for as well. Yeah. That's pretty much it guys. This is the end of this integration. Again, my main goal with this final chapter is to give you a couple of extra tools that you can use to better present all of the work that we've done so far. Instead of, instead of marvelous designer, hang on tight and I'll see you back on the next one when we take a look at Blender. So for those of you who are a blender users, we're also going to see how to create this sort of thing very easily inside of lender. Yeah, hang on tight and I'll see you back on the next one. Bye bye. 38. Blender Render: Hey guys, welcome back to the next part of our series. Today we're gonna be talking about the Blender Render. I'm gonna show you a very similar setup to what we did in Maya. But now of course, inside of Blender, this is what we have right now. This is the piece. I'm going to grab all of the pieces here. I'm going to say File Export, and I'm going to export this in FBX. Let's try doing this as a, as just a main piece. So I'm just gonna say nitrous. I think I'm gonna say multiple objects now let's keep it single object. Let's weld a single object and we're going to keep a thin of course, and we're gonna hit Okay, so now we're gonna go into blender, which by the way, if you guys have never used Blender, It's a great, great option or opportunity to learn the very basic stuff. It, let me get you this. The only thing that's a little bit weird, especially if you're coming from other softwares, but once you get used to it, it's, it's fairly simple. I'm gonna delete that cube right there. And I'm gonna say File Import FBX. We're going to import, of course, our nitrous right now. There we go. Our nitrous is ready to be worked with. The only problem here is that since we imported this as a single piece, we don't have any sort of have a couple of materials which are important. I'm going to explain why, but we don't have any sort of division. Now this materials right here are gonna be super helpful then I actually prefer blenders material system convert to Maya because as you can see, we only have three materials and that's going to make it little bit easier to manage. First things first, let's set up a nice little scene here. So I'm going to press the Shift a and create a mesh. I'm going to create a cube. Then I'm going to press, wanted to go to the front view G to move this up. There we go. And I'm going to go into phases. I'm going to select faces like this two guys, this actually three guys, four base x and delete them. We have this piece right here. I'm gonna go to Edge mode, which is number two. And I'm gonna hit B, which is bevel, or sorry, Control B. That's going to give us a nice little bubble right there. I'm going to click on the options for the bevel. We can increase the segments and that's going to round it off. It's another way to do. You can also do listen my, oh, by the way, select this guy. I'm going to hit S for scale x to push this out. And then S SC to make it a little bit taller. With a flaming to go back to one. And g, I'm going to bring this thing up again. And I'm gonna go to three, which is side view. I'm going to push this thing, G and the y. To push this thing back. I'm going to back into the edit mode, grab this element g of y and push it forward. And there we go. That way we have a nice little space for our address. Now, I'm going to cleave this bond and we're just gonna give me bringing it to my Render camera. And one thing I hate the gallbladder is in fact, did the render camera has a different movement and the normal camera, I'm actually going to press N. And here on the BYU tools I'm gonna change this camera to BYU that way. Whenever wherever I move this thing, Let's press. And again, if I go to the camera and if I move this camera as if I was moving into viewport, the camera's going to change with me. Okay, so very, very important. Let's go something like this. Perfect, That looks good. Now, Blender has to render types. We have EB and we have cycles. Eb is the real, real-time rendering engine, which is really, really strong by the way. But the professional one is cycled through the more exact when they cycle. So I'm going to select cycles, change this to GPUs, That's a little bit faster. And if I click this button right here, what's going to happen is that we're gonna be doing a rendering and it's really, really fast blender and its newest version, the version 3, It's super, super-fast, my friends. If again, if you can learn blender, I strongly recommend that because it's really, really powerful. Now, the couple of things that we want to do here, we already have a light source, which is this one right here. That point light, which is fine. Let's look at it, is looking nice. I want to change the environment. So I'm gonna go here to the world options. On the color section, I'm going to select a environment texture. And we're going to open, of course, the environmental lecture that we have, which is this studio small ESR, open image. And now it's like if we were in the studio, again, that's pretty, pretty good. It's aligning very nicely. And you can change, of course, is the strength of the element right here. I'm gonna go to a 0.5. We don't have the exposure. That's a little bit of a bummer, but we can change it here with our volumes that we do have the nasal like reflections on the element without actually making any weird stuff. Now for the lights, this slide right here that we have, Let's go to the light properties. Gonna go to this option right here to go into shaded mode. Now I'm going to go to my light properties. And down here, the light bulb, these are the properties that we can change right now. This is a point light. So you can see when we render the point light is gonna be really hard to shallow. We want a soft shadow. We're gonna change the properties here to an area light. The area lights depending on the size of the area light. We're going to increase. The size of the shadows should decrease as well. So let's go for a two meter by two meter shadow. And as you can see, we get a very nice soft shadow. The intensity is increasing, so we might need to bring this power or the water all the way down, let's say like 500. There we go. That looks, that looks nice. Now we can again create a new layer. I'm gonna say shift a to create a new life. And this is gonna be a spotlight. You can see it's right there, it's pointing right over there. Let me again let me go back to, I'm gonna go to this one which is the preview. Or this is where we're really comes into play because we can change this to EV, which is still going to work with lights, but it's gonna be way faster. See that way, way faster. It's not gonna be as exact. It's gonna be, it's not gonna be as nice, but it's going to help us get something really, really cool. We're gonna select the spotlight at G. Just move it up over here. I'm going to hit R to rotate this pointing towards the character. I'm probably gonna move this thing G and then R to rotate. Rather boat there. Then we can change the width of this thing. We can start increasing the intensity. Let's go with really high, like it's like 500. There we go. We get a nice rim light. We don't have a temperature here which I hate. Hopefully we get a blogging later on. I'm not a huge blender user, I must admit, but so if anyone knows, just, just temperature and we'll give it a nice, nicer effect. That's it. So now we go back to the render and we changed again two cycles. As you can see, we're gonna get this super, super nice effect if you click on the camera, this is what the camera is rendering. Of course, all of those guides, we're not going to see them later on. So that's the basic light set up hearing setup blender. Again, very basic, very cool, but it's gonna look like way, way, way better than what we have in other places. Now, I'm going to, I'm going to go back to this option or just, let's go to ED so it's a little bit faster. Let's talk about the materials. The material secure instead of instead of Blender can be changed in a couple of different places. First, I'm gonna select the address. I'm gonna go to this button right here, which is the material. And you can see that it actually created the one material for each of the textures are the patterns. Patterns from the fabrics that I have assigned. This obeyed red alpha is the base rate for the whole color. If I were to change this. That's a shame. I felt you had assign them to the elements but potentially either not okay. Yeah, unfortunately, we can't do that. I felt what we're gonna be able to select the patterns even though unfortunately, that's not gonna work. I'm just going to double-click here. Let me see if this changes anything. No. Oh, that's a that's a real shame. Well, anyway, let's work with this one. It works in a very similar way as with Arnold. So we have the color right here. Let's go for a nice deep red color. Get a little bit darker here on value. And we have the roughness. Of course, we can bring the roughness up, for instance, to make it a little bit like bell-bottom, like nicer. Now the shiny, Of course you can go shiny, but let's do something like this. They don't want to saturate it a little bit more or just bring the value up a little bit more. Then there's also the Xin. Was the Sheena. Again, if we push the xin up, we can get a different effect. Now for this ones to work, I think we do need to go back into cycles. There we go. Let's go back here. If we bring the shin down, we get nothing. There we go. Let's see. We have another one. Xi1 is what I'm going for. I still think it's not rough enough, so let's bring the roughness up. Starts looking a little bit better. Just a little bit better. I do think that the red is still a bit too desaturated. Let's really saturated this thing. Maybe there's too much light in the scene as well. Rendering is all about trial, narrow trial and error. Curious why we can't really see the xin. Let me, let me get a render real quick. So to get a render, we're gonna go here to the options. And we're going to select this something that I really like. We can select the time limit. So I'm gonna say like 30 seconds, That's the most amount of time that I'm gonna let this thing render. And then on the texture here in the options here we can select the the size of the picture. So it's 1920 by 1080, which is full HD. Perfect. I'm just gonna say render, render image. We're going to see here is the actual render with the proper size and everything. So yeah, this is pretty much it. Now, even though we can't really do the thing here with the different materials. Which again is one of the disadvantages when you extract this a single piece. It is saving the elements, but it's not really applying them to the things. And I'm gonna show you here real quick. If we were to go into the UV editor, you're gonna see that we don't have any UE. So there's not even a way in which we can select specific parts of this piece. But worried not, I will show you here a real quick way in which we can. Make this thing work. First, let's play here. There we go. I'm gonna pause will not pass. I'm just going to go into shaded mode here. I'm going to select Address, Object muscle address. Let's leave it on your files. You're also going to find one that I exported. It's called a multi nitrous multiplayer. We go, you import the FBX. Same thing should be the same thing. But the difference now is we have all of the patterns now. Luckily this like a specific garments not as complex as others. Let me, let me show you how we will accommodate the materials. As you can see, we have a lot of different materials. One way to do this is we can go here to the shading tab. And if we select the object, and then we click here on the materials, you're gonna see we have all of these different materials. Again, it did the same thing I did in Maya. It assigned a different that yields are each a specific piece. Sucks, it's really, really bad. So don't worry, we're going to create new materials. So let's back to the layout. Let's start with the main piece right here. So I'm gonna select this main piece. Let's go here. And we can even, we can use the same one. Let's just change the name. Let's call this m underscore, main dress, red. There we go. Now, let's write is fine. I'm probably going to increase the roughness quite a bit. Now what I need to do is you need to grab all of the pieces here. The dress, the actual skirts. I'm going to go here to the materials. I'm going to select that one. And I'm gonna hit that's it. Actually, if we changed the color, it should change to the other ones. Why is it not changing? It's really weird. Just going to delete that one. And here, there we go. Let's delete that 1 first. I wish the main dress right there we go. So now if we were to change the main red dress, like a different color. There we go. That's that this is without the shape, this is where the shade. So there we go. Now it's working again. So all of the pieces that you want to delete the geometry from which in this case are all of this. Delete the materials, and then from this list, assign the material. There's one main dress, red. Now we can just bring the nasal color here. Let's go for a dark red. There we go. Now I'm going to select this piece is right here. Let me see if I can select the outer ones. It should select the outer ones because that's the ones. Those are the ones that were like seeing like closer. All of this, I'm going to delete the material. We can actually say right-click and joined Control J. Now we delete all of the materials. We assign new material and let's call this dress transparency. There we go. Now we select the base color. Let's go for a red software read probably. And this one, of course, we're gonna go to the Alpha, which is like the transparency. And we're going to bring this down to make it semi-transparent. We won't see that until we render though. We render that thing's gonna be, as you can see, semi-transparent right there on the main area. In this case, we can just hope. Let's go back to the shading view. We can select this pattern is right here and assign the same material then to them. So just again Control J to join them together and then delete all of the materials that they have a sign from them. Here's what we have here. We're going to select the address transparency. Again, if we render, you can see that that piece of fabric is going gonna be symmetry spend probably want to make this thing a darker as well. I still think, I think now the main dress material, this one right here, it's a little bit to the xin is a little bit too much. I'm not sure why we're getting this sort of like I would like I would like a more like a rich color. There we go as the specular. Let's lower the specular a little bit and that way we get like a, like a richer color. Now one thing that we can do for this pattern right here is we can actually go down here on the Alpha. And if we insert a texture, we can say, Hey, give me a texture. But we're gonna do this on the shading aspect here. So I'm going to grab that guy right there. This is the the dress transparency. And again, from your files from chapter four. We can just drag and drop this Alpha channel here. There we go. And if we plug this in, we plug in the Alpha into the alpha. Now we're going to have that sort of effect. Not the elephants, the color, sorry. There we go. Now as you can see, we have the pattern. The only thing is we can see that we don't have is the proper texts recorded that it's too too big to fix that we're going to hit Shift a here and we're gonna search for texture coordinate. This is going to go, the UV is gonna go into the vector channel. We're gonna change this to, to, to, to, to to a texture mapping. Note that's right. So we're just going to hit Shift eight here, search and we're gonna do texture mapping. The image texture, sorry, shift a mapping. There we go. We're going to plug in the UBI into the vector output, then this thing right here. And if we scale this thing to like 555, we should have, we should have the texture. What am I missing? It's the object into the vector and then the scale changes here and this goes into the vector. Oh, there we go. Now as you can see, the texture is gonna be repeated more times. I think five might be many, maybe too much. Let's do 333. The drink to see if we can visualize it. Let's go back to 111 UVs. There we go, UVs. Now which is 555. And that's it. So now our pattern looks really nice. It looks really nice down here as well on all of this elements on the bottom part of address, I think we can definitely increase this to attend. There we go. We have enough enough room, maybe even more. I would like this to be a little bit denser. 151515. There we go. That looks a lot, a lot prettier. So let's go back to the layout section. And as you can see, we have that very nice soft effect. Now, we can go to this pattern right here, and let's hide that for just a second. Let's stop there. Let's go back to it like pattern rendering. And that we can select the whole of this other patterns, which are the bank patterns of the dress. All of these guys. That one. And I'm again going to say, we can just combine everything. I think that will be the best right here. So Control J to only have for parents. So we have this should be combined with this. So Control J, there were a shoe, we should only have three patterns. The one that's hidden, this one that's the domain dress, and then this ones that are the sleeps. So this is the one that, uh, some interest. Again, I'm just going to delete all of the other patterns. As you can see, it's only left with the main red dress that's going to be assigned to everything. Now we turn this back on and we can just hit Render and render our image. There we go. So now we have a really nice final render here inside the wonder. And it's looking quite, quite nice, I would say. Now. In other words, done with the Blender Render and with the Maya render, I'm gonna be completely honest with you guys. The best one to do this is gonna be Momma said, we're gonna be seeing a marmoset on the next video, we're gonna take a look at the other main process for that one. There we go. Maybe the audio got cut a little bit because this thing was rendering, but it shouldn't be done. Now as you can see, we have the denoised, it's kicking in, and we have this very, very nice effect for the address. Of course, if we added the texture thing and stuff, it will be better. And that was mentioning that even though blender is a really cool tool, is a really cool tool, they do in bubble a little bit more work because you need to setup the material, setup detectors. And I personally think that the mom has said it's gonna be it's gonna be one of the best options. And I'm going to show you why in the next video. So yeah, hang on tight and I will see you back on the next one, guys. Bye, bye. 39. Marmoset Render: Very well. Now guys, we jumped to the final render and I'm gonna show you here. Now, this doesn't mean that this is the only other renderers. There's a lot of other render so that you can use, but these are the ones that I master are the ones that I normally use. So we're gonna go into marvelous designer. Actually, no, let's just work with what we had. So I'm just gonna say file, I'm just going to import my model. And again, if we go to our models right here, we have the medieval cow, the medieval shirt, the dress like a couple of other things. If I select, for instance, in medieval shirt right here, the whole thing, one of the problems is that even though we do have the materials here, they're still not gonna be working as I expect. So this is the red channel. It's not doing anything. This is going to be changing like nothing. And then this one, which is the main one that's going to be affecting pretty much everything. So yeah, that's that's the problem. We're gonna have to, again, like separate pieces, but unfortunately marbles is not as what's the word, It's not as efficient at doing this. So let's bring in not the medieval shirt, but the uniform. Let's go with the school uniform. There we go. Yes. Even though we do have all of the materials here, we can just very easily delete them. Let's delete all of them. We're gonna, we're gonna remain with the basic one. And now here it's gonna be a little bit easier to build all of the different things that we need. One of the things that I love about Mormons with four, is that under texturing panel, we actually have access to a lot of textures that we can use here in a very similar fashion to marvellous. If we go here to the fabrics, for instance, there's gonna be a lot of pre-made fabrics that we can use. This cord injury gotten high bridge called Oxford. So let us use, for instance, Khan. Oxford sounds fancy for us, cool. Let's just double-click. Also going to use this Flynn L1. So if you just double-click ones that has already been downloaded, it's very easy to just drag and drop this on top of your object. And there we go. See how easy and nicest looks, because it has a normal map, it has a texture, it has everything that we need. Some materials, not all, but some materials will allow you to change a couple of things. In this case, this is the one that does not. But technically, technically you could go here into this option to this element, and that changed the colors. I'm going to keep them blue for now. Let's drag this like cotton Dolby, the Adobe. And in current Oxford, for instance, I like the cotton lobby for the inner shirt. I'm going to select the inner shirt right there. You can see that's the sort of like the double-sided thing. I mean, it looks, it looks interesting. But one thing I'm noticing and probably you guys are too, is that the texture is way, way too big. Like how do we, how do we change that texture? Really easy. We just go down here to the Texture tab and we can change the tiling to make it a more approachable size by one teams to be working quite nice. Then the Kung 4x4, we're just going to assign everywhere here as well. Make sure that we're doing both sides of the element. Just be very careful there. Now, I'm gonna go here to the cotton lobby and I'm going to turn off the Albedo map. We're not going to use the color, we're just going to use the texture because it was, it was a very nice, like a beige color. So I'm going to go here to the color. And you can also just darken this a little bit so that we get a nicer effect. Let's bring the cotton here. Here. Here, the texture on the garden is also limited. A big, So let's go to like four. There we go. That's a little bit better. Now we just need to be very careful here to assign this to all of the elements. All of those inner lines and stuff that we have, they should all have their own texture. There we go. Careful here. So just like we added to the wrong piece, there we go. Wherever that you can also increase the particle distance before exporting. We go. Now one thing that's gonna be really important is I'm gonna select all of the patterns are just this is called uniform, not actually, we need to select all of the patterns which are the meshes themselves. There is an option. And told me that we're gonna have to do this per fabric. I probably just the main ones, the ones that we're seeing the most, for instance, that one right there. And make sure to say a callback faces off so that we can see that the other side of the element, because otherwise it's gonna be transparent. And that makes it look like quite fake, right? So we're going to turn off the call back faces. Again, it doesn't have to be on all of them, but especially on the ones that are the most obvious one that's a little bit too light. There we go. Yeah. It might seem a little bit time-consuming, but it's the way to that there's another render. I just want to mention that in case you guys want to check it out. Well, there's another render called it's called key shot. And Kisho, it's also really good for this sort of stuff. The only problem with T-Shirts is that it's not quite expensive, not super expensive, but it is quite expensive. And it's just another investment that you might not want to do. Let's see, we have another sort of nice fabric here. We have lace unloved. What we're gonna do lays for the for the there we go. We have nylon. Let's go for them for the leggings, right? Yeah. This isn't the nylon strap. So for instance, for the military one, I think this one's going to be like really, really cool as well. There we go. Let's just look for nylon again. Just double-click. And there we go. We're going to have this very nice. Well that's more like like fiber nylon. We can increase the texture and make it like really, really thin. We might get that sort of like a shiny or interesting effect. I remember all of the UVs are gonna be tiling. So it's going to make it a little easier for us to work with Kohlberg phases on all of the objects. So we can see that this curve properly. Careful here, it seems like I added the column there. Now finally, I'm going to create just a new material, just gonna be that the red plastic. That's going to be like a nice dark red plastic. Well, in this case, let's make it blue. I know this is not the persona five effect, but it matches our skirt, right. So there we go. Probably a little bit darker. That's nice. Now we can go back here to the classic view and we can worry a little bit about the, the rendering because this is not rendering, this is just the basic shapes. The first thing I'm gonna do is I'm gonna go into my sky. We can change the preset of the sky. Here on the skies presets and find something that's a little bit closer to a, it could be a school or something. So for instance, we have this this apartment Japanese, I think it's perfect. Let's just add it. And I like to do the same thing that I've done with other things. First, let's press Shift and right-click and you can move the light around. So I'm going to do something like this. And then on the brightness, I'm going to bring the brightness down because it will give me, it will help me with the light. But I want to do my own light here. I'm gonna go here, do a normal, just, just a normal light, brachial spotlight. We can change, of course the brightness. I like to change the diameter. That's going to give me a softer shadows. As you can see, that gives us a very nice soft shadows. There we go. And I'm gonna go to the back part right here and add another light. Gonna be a little bit brighter. And that's also going to give me this very, very nice effect. Now one cool alone, cool thing I love about marmoset is that you can grab this. It's like school uniform and then go into seen at object turntable. And now this thing is inside that turntable. If you go to animation, you can play this thing. And you're gonna get any Nadine mentioned that's really good too concerned. Your work like this looks way, way, way better than if we just had the basic, the basic statics shape. So one more thing though that we can do here in the Marmot said, is turn on something called ray tracing for has this ray tracing option, even if you're going to have a graphics card that's using ray tracing like an RTX 38 or something. You can still turn rate tracing on and you're going to get a more natural beauty. You're not gonna be able to preview the thing right here. When you do this, the ray tracing gets the activator. When you stop it, it'll kick, it will keep ripe right back in. Now of course, one thing that you need to do here is we will need to import the, what's the word the infinite plane hearing tomorrow said to make these things work. But as you can see, I mean, just look at the detail. Look at the detail that we can get here on the 11th of a weird triangle right there. That's weird. But yeah, this is how, this is a very cool way in which you can present your work after you've finished modeling. Instead of marvelous designer, I'm gonna go here to the sky. I'm gonna increase the brightness a little bit more so we can see it a little bit better. And that's it. That's pretty much it. That's why I really like a marvelous designer as a way to present my work, because it's really fast. It's a really fast renderer. And as you can see, we get some really incredible results. Yeah, that's pretty much it guys. This is the final video of this series. We're pretty much at the end. I'm still going to have one more B that we do guys, where I'm gonna talk about what's next, what should you pursue after you finish with all of this production? And the yam. Thank you very much for following along. Thank you very much for all of this time. I know it was a lot of work and it's hopefully not that complicated. Hopefully I was able to show you the ropes and the general principles instead of marbles assignment and how to apply it to different kinds of projects. But yeah, that's it, guys. Have a good one. I'll see you back on the next one.