Complete Guide to Zbrush 2022

1. Introduction: Do you want to so to amazing creatures, characters, props, environments, but don't know where to start. If that is the case, and I welcome you to next Tut's complete guide to Sievers 2022. My name is Abraham Lill. I have 11 years of experience in the three D industry, and I've been teaching for the past seven years. I also manage my own it studio here in Mexico, and I will be your instructor throughout this course. In this course, we will be covering all of the most important aspects inside of Sievers. I will be showing you different ways in which you can start your projects and bring to life all of the amazing things that live inside your imagination. Huhout this course, we will be learning about the principles of sculpting, dynamice, C spheres, part surface tool, poly pain, rendering and much more. This course is divided into ten chapters. Each chapter will develop one project that will you specific tools about the pipeline. At the end of all of these courses, you will be able to create anything that you can imagine for this industry. I have designed this course for beginner level students who want to start their career inside the SR software, and the only thing you need is to have a pen tablet to work. It's going to be very important. Make sure to have CRs 2022 as well in the latest update, and you'll be ready to go. Join me and start creating amazing sculptures with Sievers 2022. 2. Zbrush Interface: Hey, guys, and welcome to the next part of the series. Today we're going to be talking about the interface, and believe me, it is a tricky one. Welcome to the interface. Cs is famous for having one of if not the worst interfaces in the Trey world. And one of the reasons is the guys that initially built CRs, they were not used like interface designers. They were just programmers, right? So they tried their best and they created this, which is not bad. It's not bad, but it gets a little bit confusing. So let's go over the first things. Usually, you're going to get this home page whenever you open C which has a couple of news. Maybe the news like updates and stuff. Always good to check it out and just see what's in store for us. You can just close that. If you don't want to show this every single time, I believe there's an option here. There we go. So you can change if the news have innovator or always, depending on what you want. So that's the home page right here. And then we have this like tab up here that gets open again, every single time you open Saber and this is called the Lightbox. Now, this is very important. And we're going to circle back to this guy in the next idea when we talk about customizing our user interface. Because there's a lot of things in here that we want to have available for us during our working sessions, right? So this is going to be the live books very important. I'm going to close it right now because we're not going to use it. Live lions, we're going to talk about those later on. And then let's talk about the general interface right here. Now, I'm going to preface this by saying that I have a 24 inch screen. I'm working on a smallish screen, and therefore, some of the buttons that I have might not be available if you're working on a smaller screen. If you're working on a display tablet as well, you might have a slightly different view here. But usually, you're going to have your menus up here. Every single tool inside of sea brush will be found or can be found inside of this menu. So if at any point, I'm talking like, let me just create something here. Like if at any point I'm talking about, and I see something like, Okay, you're going to go to the deformation menu, and you can't find the deformation menu, as long as you know that it's on the tool palette, you can go here to the tool menu, and it will be here, somewhere around here, it should be, okay all of the menus, all of the tools, all of the things that we're going to be using are going to be up here on the main menu. Then we have all of these lines right here, which are the main lines that have to do with the brush itself, okay? So we have things like the draw size, the focal shift, the intensity, whether it's adding or substracting, whether we're working with materials with colors, weight materials and colors, whether we're using sculpted spra, we're going to talk about this later, whether we're drawing, moving, scaling, or rotating. So pretty much anything that you're doing here or what you're doing with your brushes will be up here. We're going to talk about each specific thing more in depth as we go through each one of them. But yeah, so this is the general area. Over here, we have the palette. I'd like to call this the palette, and it's very similar to fold shop where you have very common tools, right? So this first one, are all of the brushes that come by defol severs. We're going to talk about brushes and custom brushes later on as well. But most of the brushes that we're going to be using are going to be in this place right here. Now, there's an important thing that I want to mention, and let me open a little software that I have here real quick. So I use this little software here to show you, you're going to sit down here on the screen. Whenever I press a button or any sort of key combinations, you're going to see it right here, okay and the reason I want to show you is usually, you want to start learning the shortcuts of a software so that you can work a little bit faster, right? So to open the brush pallet, this plot right here, instead of having to go all the way over here and clicking it, you can just press the B key. So if you press B, the brush pallet is going to open. And then if you know the shortcut to the specific brush that you're looking for, let's say, for instance, the M brush, which is, and then v, you're going to select it automatically, B, and V will select the Mo brush. Again, I'm going to be repeating the shortcuts for you guys, and you're going to see them down here on the screen and whenever you need to take a look at the keystrokes. But yeah, so there's a lot of brushes. Don't worry. You don't need to learn all of the brushes to become a great sash sculpture. Some of them are, like, really, really, really specific. So we're going to be looking at most of them, but you don't need to master all of them. Then we have this thing, which is called the strokes. Now, for this, I'm actually going to start a new project. So I'm going to go into the lightbox option. I'm going to go into my projects here. And then I'm going to select this sphere called the Dinos fear 128, which means that it has 128 resolution, okay? So just going to double click. I'm going to say no, I don't want to save any changes, and there we go. And before we start talking about this, we need to talk about how to move inside of the interface. So for this, I strongly recommend that you use a Wacom tablet. Tablets are way way better to work inside of the servers than just a normal mouse. If you want to do it with the mouse, that's fine. Just keep in mind that you're not going to have what's the word? The sensitivity to have lighter and heavier strokes, okay? So if you click anywhere outside of the sphere, if you click anywhere outside of the sphere, you're going to rotate the camera, okay? You're going to sit a little head right here, which is showing you where the is front view side view top view, and this allows us to orbit around our object in this case. If you press Alt and click anywhere outside of the object, you're going to pan the camera left to right, top to bottom. Okay? So normal click, just like tap and drag on your tablet, and then alt and click. Again, move around, and that's it. And finally, if you click Alt, Click on the tablet and then drop your alt key without dropping the tablet, you're going to be able to sum in and out by moving up and down or left and right. Okay? It's kind of like a little combo, like a street fighter combo. It's old, click, and then you drop the lt and you keep your tablet touched like this. Okay? Now, if you're struggling at first because believe me, the interface tends to be a little bit tricky at first. You also have all of those right here. Not this ones right here, so people get them confused. This are about the viewport itself. We're not messing with this ones right now. I'm talking about this ones right here. So frame will frame your object, which, by the way, the shortcut, if at any point, you lose your object is F, F will frame your object. That's the frame button. Move. If you click and drag, you're going to move around. So three D, will allow you to sum in and out of your object, and then rotate will allow you to rotate around the object. Okay? So those are the basic three D movements that we have. There's a couple of extra ones that I want to talk about real quick. And that's the shift button. You can see me using the shift button right here. If you're moving, let me quickly draw a little face here. There we go. We. Okay. So let's say we have this ugly phase right there, okay? So if you're moving to one side and you press shift, it will automatically snap to the closest ortographic view, which in this case, is the side view. Let's do that again. I'm going to move up and then shift, and it will snap to the top view. If I do this and shift, it will snap to the front view, even though it's rotated, of course. So again, just move around and then press shift, and it will snap. You need to drop the tablet first and then drop the shift. Otherwise, you're going to jump back to where you were. So you can do this to compare things like if you're just pressing and releasing shift, that works really well. But if you want to stay on the ortographic view, you drop the pen first and then the shift. Got it. So those are just the basic moments. And it's very important that you practice them. I suggest if you want, just pause the re right now, go into Cibers try moving things around, and that should give you a nice perspective. Now, talking about perspective, there's this thing called dynamic perspective. And as you can see, dynamic perspective, it is a way to fake out perspective here inside of Cibers. I say fake because Ciber believe I mean, it is a treaty software, but it uses a different kind of math than Maya or treaties to the Max or blender. So things will look slightly off inside of hers, like if you were using like like a fish eye lens or something. So I personally like to work without dynamic perspective. So I always turn it off, and that's going to give me a perfectly orthographic view, which is going to look just fine inside of Maya or blend or any other software later on. So I strongly recommend that you turn off perspective, you can use the letter P to turn it on and off. And again, the closer you are to the object, the more like intense and evident the distortion is going to be, see how big the distortion is over there. So that's why I personally don't like using it as much. You also have the floor, which is this one right here. Quick tip. There's a couple of extra floors in here, X Y and C, which you can turn on as well, if you want to measure them. There's this little super little icons that you have here inside of your little element. Y is usually the one that we are working with. Now, as you can see, we have two little dots like floating in our little sphere here. So if I draw on one side, it's going to draw on the other side. That's called symmetry, and you activate it by using the letter X. Make sure you always have symmetry activated as long as you're doing symmetrical work, of course, because sometimes you're just super focused on working on one side of the character, and you forgot that your symmetry was off, and then nothing is being done on the other side. If that ever happens to you, don't worry. We'll talk about how to fix this. Fix that. There's a couple of ways to do it. But it's a good practice to always have symmetry activated as long as you're using it. Now let's talk about these things right here, which we left unattended for a couple of minutes now. The first thing we want to talk about is the brush, which, of course, we are using the standard brush, which, as you can see, if I were to drag on top of my sphere, I'm going to be creating a little bit of volume. I'm adding volume to the object. I'm not adding more polygons. Every single thing inside of C brush is made out of polygons. And I can check that by turning on this thing right here, which is called the polyframe Shift F is the shortcut. I usually don't use the shortcut as much for this one. So the polyframe will show us the mesh, the polygons that make up our little sphere right here. So by using the standard brush, what I'm doing is I'm adding or I'm pulling those points up in this case. And the reason why I'm pulling them up is because I'm using C and the intensity set 2205. Now, this is where the Wacom tablets or any sort of digital panel works really, really well. If you go super super soft, even though we're at C and C intensity 25, you can see that I can do very, very subtle changes there. And if I go really, really, really hard, I can also change this, like, very, very intensely. So by having a digital tablet, you're going to be able to very nicely blend together the changes in volume of your object. That's why it's super super recommended that you get yourself one of them to work with Seers. Now, if you press C sub, as you might expect, whatever you were doing with C is now going to be done on the opposite direction. So in this case, we're pushing the points inward. See how we're stretching all of this area and creating the sort of like cavity. That's what the C sub does. Now, if you want to accelerate the process, you can of course, increase the intensity, and even with very little force on my table, I'm going to be creating a super big hole because the intensity is really really strong. And if I want to go a little bit softer, of course, having a low C intensity will give me a super super subtle effect. So again, depending on how fast you like to work, you are going to be able to change the C intensity. The focal shift in the draw size are other two things that are really important draw size. As the name implies, will give you a bigger brush or like a smaller brush, and, of course, depending on the size of the brush will be the change on the surface of your object. The important thing here is the focal shift. And for the standard brush is not that important, but there's a couple of other brushes that really benefit from it. And the focal shift, it's kind of like the hardness of the brush. So if you have a really, really low focal shift like this, the brush is going to be really, really hard. See how the borders of my little crevice there are super super sharp, and you can really see the form or the shape of the tip of the brush. However, if we go with a very low focal shift, it's going to be really, really soft, and we're going to get a very smooth and soft transition. So again, depending on what kind of effect you want to have, you're going to be changing the focal shift. Usually, I keep it at half point like zero, which is the medium point. And if I need specific things, I will change the focal shift and the draw size. Now, as with the brushes here or pretty much any other button inside of sea brush, I don't want to spend a lot of time like moving from one point to the other, right? I want to be able to access all of these options in a more express way. And the easiest way to do that is by pressing space bar. If you pres a space bar, you can see a multiply it there for how long I'm holding it, you're going to get this very nice effect right here. And this thing right here has the draw size, the focal shift, the C intensity, C adds up, a lot of the tools that we normally have outside of our element. These are particularly helpful if you're working with, like, a display tablet that has, like, the screen integrated to it because you're not going to be close to your keyboard as much. So if you map a key to get this thing right here, you're going to be able to access pretty much every single thing from a sabrush in this specific place. So you're going to see me using Spacebar quite a bit to access all of these points. Just keep that in mind, okay? That's a very helpful shortcut right there. Now, at any point up here, you have this history. It's first session. So once you close Seuss, you lose it. So I can bring all of this undue history all the way back, and that's pretty much going to bring me back to the beginning. So we kind of erase everything back in a super fast way. The next one is a stroke and the stroke is how we apply this brush to the surface. By default, we are using dots, and you can see it a little bit more clear when we're using a low focus shift because you're going to see each specific dot. You can see it over there, how we're repeating a circle and doing it several several times until we get this sort of line, okay? We can change this to free hand, which usually gives you a nicer effect. However, you're going to see at this point or at this distance, it's really not noticeable. However, some brushes will benefit from free hand rather than dots. Drag t will work in a very interesting way. Instead of creating a line of dots, you will create one dot and then a drag it and make it either small or big on top of the surface. This is really good to apply like stencils and alpha. We're going to be talking about those ones as well later on to specific places of our character, drag dot is really, really cool because you decide where you want a placel let's say, right here, and then I decide whether I want it small or big or small. Okay? So you pick the place and then get it to where you want it. Which is similar to the drag dot, which is the last one. However, drag dot, you decide the size first before drawing, and then you decide where you want to place it. Okay? So let's say we want to do like small dots, so I draw the dot, and then I just drag it, drag dot. That's why it's called drag dot. And we drop in this case at this dot right here. Okay? Now, you might be wondering, well, where it's useful? Are we going to be using them for like a match or something? Yes, we can use them for so many things. But the important part is, they play really nicely with this thing is called Alpha. But before we jump there, just a quick one color spray, it's just like a spray, so you're going to see a lot of the effect over there. And then sprays the same thing but without color. In this case, we're not we don't have any color, so it's pretty much the same thing, the other two elements right there. So I'm going to go here to my Alpha. Alpha is like the tip of the brush. So if you change the tip of the brush, if you change the tip to this like star, and I were to change this to like free hand. Now, what's going to happen is, as you can see, we're going to be drawing stars. So of course, the bigger the brush, the easier is to see the star pattern like occurring, right? And we get this very nice surface detail that would be very difficult to do just by hand, right? Because we've got a lot more texture looks like scales. Now, if we change back to drag wreck, we're going to be able to drag and drop one star, wherever we want. Or if we were to change this to drag dot, we're going to be able to move this and place these little stars wherever we want as well. So, as you can imagine, it's super super helpful to combine these strokes and the alphas and create all of these interesting combinations and effects. Now, there's some more useful alphath others, for instance, I particularly don't like this ones right here, which start like noise, looks very weird. So I don't use them as much. And you can create your own Alphas. I'll show you later on how to do that as well. Then we have this ones right here, which are de texture files. And let me tell you they suck. They're completely bad. They look like from Windows 98. I mean, it's just like random noises and stuff. There are some people out there that use poly paint inside of tiers to texture the assets. We will be taking a look at poly paint later on, I believe it's chapter six or seven. Um But we're not going to be using any of these textures. These are very ugly, very old textures, so not useful for us, really, they're there, but now we're not going to be using. Then we have the materials which are really, really cool. Materials will allow us to see or kind of like visualize how this guys will be looking, okay? So I'm going to go here and let's say, I want to be doing like a jewelry, and it's going to be made out of coal. So I can get a very clear idea of how this is going to look. And they're divided into two different like material types. This ones are called Mt cap material captures, and these are just standard materials. The standard materials are pretty much like in Blender in May, there's your bland or Lambert. That's your bleen, that's your fng and they're going to be just like basic materials. We can modify them, by the way, we have the material palette here. There's a lot of modifiers that we can change to change the material. We don't need to do that right now. And this one's right here, there are more like materials that you would expect to find in the real world. The only issue with this one is as you can see, the light is always consistent. So it doesn't matter how I turn this guy around. The light or the reflection that's captured there, it's always the same, see. So that could get a little bit like weird. However, there are cool ones like this green metallic, I really like it. It's kind of like stylized cartoonish, I really like it. And I'm actually going to be showing you how to download a couple of materials that I really recommend to customize our interface a little bit more. So I'm going to go back to the started material and there we go. Now, in some versions of CRs the start up material is this MTC red wax. I hate it. If I were teaching you guys a class and I was there with you and I saw you were using this one, you probably failed a class because I really, really hate this material. You can see it gets the super weird lines all over the place. I hate it. It won't look good on your elements. So never, or try to never use that one. It's really not good. It's really, really not good. The cool thing about the materials, though, especially if you're using the standard materials. Some madcap do behave like this, but not everyone, you're going to be able to change the color. So let's say you're doing a hulk or something or like a gobbling like an c, you're going to be able to have a greenish hue, and that's going to allow you to understand or visualize the form a little bit better. So always always super helpful. Very common mistake is people will switch these two guys around. That's with the V k Vk. So the Vk as you can see, changes the color. And sometimes people will be like, Oh, my God, my culture disappear. No, didn't disappear. This is set to black. So you have two options. Either press B again to switch back to your original color, which is the active color, the main color, or if you're in this one, just move the color to the pretty much the same color, which, by the way, you can just drag and drop over there, and it should be both the same color. So Viki will switch from main color to secondary color over here. Very, very important. And that's it, guys. That's pretty much it over here. We have all of these tools again. We've mentioned some of them. Now, if you don't see some of them like the exposed or like the dynamic, you can position your mouse like right here when you see this like vertical arrows. And if you press out and move around. Or it control and move around, you should be able to see the whole bar. So you can move this whole bar around, so it's a little bit easier to see. Especially if your screen is not as big, some of this will be missing, and you're going to have to find them, of course. So over here, this is the tool palette, which, again, we've mentioned before, it's over here. So when we open it here, it disappears from here. Otherwise, it's going to be here. And this is probably the one that we're going to be using the most because most of the main like sculpting tools are going to be in here. At any point, you can undock by clicking that little icon and you can redock anything that you want on this place right here. There's also another tray over here on this divider. If you click this divider, you can see there's the brush menu, which, again, I can just like unplug and I can grab the color palette and get it there. So you can grab any menu, like the material menu, and move it over here, and now it's stuck over there. So again, depending on what you're working, you can do that. Finally, there's another divider. It's kind of like hidden down here, and this one is usually for for materials and stuff. I don't use it as much, but you might see some custom interfaces that might use a little bit of that space. So yeah, that's it for this videos. That's it for the sea brush interface. We pretty much covered every single thing. Now we're going to have one more video about the interface, which is about customizing the interface because I'm going to be using a custom interface throughout the course, and I want to show you how to do it and why we do it. After that, we're going to start with sculpting. So hang on tight, and I'll see you back on the next one. Bye bye. 3. Custom Interface: Hey, guys, welcome back to the next part of our series. Today, we're going to be talking about a custom interface. So how we can change a couple of the things here to better accommodate most of the things that we're going to be using. So in order to change the interface, it's actually really really easy. I'm going to go here into preferences, and I'm going to go into configuration, and I'm going to say enable customize. And you can see that the screen changes a little bit. I adds a couple of more spaces, and we're going to be able to move and change things around by pressing control and. So if I press, for instance, control alt and I drag this home pitch button into the view part right here, I'm going to eliminate it. So that space. I really don't need it. I only see the home pitch when I open Sever so I'd rather have this space for something else, right? And you can change and move things around. I'm going to be talking about some things that I like to change. And then I'm going to show you my actual current costume interface, and we're going to be talking about some of the things that I have there. So, for instance, one of the things that we use quite a bit is this thing called dynamish. So I'm going to press Control Alt and drag this dynamish up here. There we go. And we like to have this resolution as well. I'd like to have this groups option. And the polish option here, so that I have, quick access to both of them right here, so you can just move the room. There we go. Let's make sure that they're as as possible there we go. Group polish dynamic resolution perfect. Inside the modified topology, I'd like to use a mirror and weld quite a bit, so I'm going to have it there. And I'd like to use this thing called delete heading. Again, control and lt and move this right there. Let's say, what else? Close holes. Yeah, that's useful as well. So we're going to go there. And you can change your interface as much as you want, as many things that you want to add, you're going to be welcome to do so. So I'm going to keep it really simple right here. I don't want to make this video super prolong. That's the way you do it. Like any single tool, button feature, for instance, here on the light options, I really like having this light over here. So you can drag this whole thing over here, and now I'm going to be able to move the light around, very, very helpful. So anything that you see on the menus, you're going to be able to save it as your custom interface. One of the things that I really like is going here into the custom UI, sorry, into the eye colors and changing the switch button color one, two, and the slider knob color one and two, to something that you might like. I personally like a blue, so you can just like grab this and go for like a blue, like a darkish blue or let's actually move this thing over here, there we go. So now we have the whole blue thing up there. And again, we go preferences, this guy right here, and let's go for like a dark blue, there we go. And now I'm just going to drag and sample this one right here, and then drag and sample this one right here. Drag and sample this one right here. Actually, like this like lighter blue. Okay. There we go. Now you can see my whole interface has changed. It looks very fancy. It doesn't change anything. I won't make you a better artist just by changing the color, but it's something that you can do. Now that you're done after you're done with your custom interface, you can go here going to Cfig again, disable able customize and you can save this UI as your custom interface. Now, you can see that right here on my sebrush data folder, which I'm by the way going to copy this Control C. Okay. I can say this and call this next to interface, okay? Look. And now that configuration has been stored. I'm going to go here preferences, and I'm going to say load the UI, and I'm going to load this one that says custom user interface, I'm going to say open. This is my custom interface. As you can see, I have a couple of other things. I have the hidden backface masking, ser measure resolution. So this one is going to be available for you guys, okay? Whenever I talk about all of these things that I'm going to be talking about later on, I'll show you where they are. But if you just want to work exactly as I'm working, check your documents in the document folder for this course, and you're going to find that little interface. So you just need to go preferences. Fig and say load a UI, and you will have my exact same UI. Now, if you want that UI to be your standard UI, because otherwise, we're going to go back to the standard UI. If you want this one, let's go preferences, fig, restore custom UI. There we go. If you want this new UI to be your base UI, you're going to say preferences, fig, and you're going to say store fig. So this will create a configuration file that we'll know that this is near your new like basic UI. Again, to save the UI preferences, save UI. I'm actually going to jump right now to make sure I don't forget about saving this guy for you. So here are the project files on the custom interface. Call this next to. There we go. If you need it, it's going to be right there. If I add anything later on, I'm going to just show you, that's it. That's the first part about customizing CBrah. Now, let's bring our color back to the original one. And let me show you one very cool tool or not to a resource that I recommend. There's a very famous artist called Glaucgi. He's a very talented Si Brush artists as well. He has worked, I believe in Nadi dog for a while. And in his Gumroad, there is this one called the Seabrh setup Hot Keys UI plus materials. It's his UI. So you're going to see that the interface is slightly different. The shortcuts are slightly different. Everything is slightly different. You can get this yourself. I'm going to show you how this works. So if you've never used Gumroad before, you can, of course, tip him something or just download the four free if the object is free. You just say I want this, you write your e mail, and then you download it. Now, when we get this, as you can see, this is just a rare folder. Let's open it real quick. There we go. The archive. And you can see that we have materials, all of these materials. We have the instructions, the hotkeys, the interface, this one, the CFG, that's the custom interface. In this case, I'm only interested about the materials because these materials are really, really good. He created these very nice materials, and I really like them. And I want to show you how you can download free materials such as this one and use them in your receiver. Remember the folder that we talked about before where you installed your software, in my case is this one right here. So I'm going to go see brush. And on the folders from C bruh, there's going to be one called C materials, the one right here. As you can see, there's only three right now. But if I were to grab these guys right here and literally copy them into my folder. Now, if I go into S brush, I'm going to be able to open the light box, go into the material options, and you're going to see that we have this ones right here. I'm personally super superfund about the plastlin. It looks very, very cool. It has this very nice orange tint to it. It won't be it will be affected by colors a little bit, so you can change it a little bit. And this one, the longest cult. It's really rely. This is probably my favorite material of all of them, and it's really really cool. Now, Sea Brush actually has a lot of mat caps that you can download as well, and you can look them up just by going Seb Mt caps. And there's this MT cap library that Siebh has. So a lot of them, a lot of them. Not only materials, they actually had plugins and stuff. We're going to talk about those later, but look at this. A lot of very, very cool materials. There's a couple, sk materials that I really like. There's a couple of, like, Earth donmes like this one. This whole material looks really, really cool. And if you want any of this, you're going to do the exact same thing. You're just going to download the object. And this little sip file right here, like this malachite folder, you're just going to open the archive. And then this one right here, we're going to copy and paste it on our C materials folder. So now, every single time that we open Sebra here on the light box, on the materials, we're going to have the material. I just just double click. As you can see, we're going to get this very, very cool material. So that's another very important way in which you can customize your sabrash experience. Now, If there's a material such as this one that I really really like that you want to use every single time you open sea brush. You can open up this little window right here and say, make or save as, start a material. And now, every single time that you open Seabsh this material, as long as it's on your material folder will be applied to whatever you're working. So super super handy because you no longer have to go light box and apply it, it's always going to be applied to your object. And yeah, that's it. I think that's pretty much it for the whole thing about custom interface. Again, there are things that people can customize. You can look online, and there's a lot of custom interfaces that people use. So if there's a favorite artist of of yours and he shared here or she shared their interface, you can download it. I always recommend to do a little bit of research because sometimes people add a lot of stuff. I tried to keep it really simple. So for me, I pretty much just added all of these tools right here, which we will be talking about throughout the course, and changed the color to blue because I really like the So, yeah, that's it, guys. Hang on tight because now we have everything that we need to start for our first project and our first sculpture. So get yourself ready, get yourself really acquainted with the way of movement here instead of Sivers with the basic shortcuts of the space bar, and what each of these elements do. You can try and do something sample, like a little happy face or something. Just play around with the buttons so that it's a little bit easier because we're going to be jumping straight into sculpture. And yeah, that's it, guys. I'll see you back on the next video. Bye bye. 4. Skull Primary Forms: Hey, guys, welcome back to the next part of our series. Today, we're going to start with Chapter two, and we're going to be working on our first project. So let's get to it. Now, as you saw in the title, we're going to be doing a skull. However, I wanted to change things around because usually, whenever you get a Crush course, everyone does like a human skull. It's kind of one of those rites of passage that everyone does. And I mean, it's cool. We can learn a lot of from it. Actually, in our past Sh video or series. We did one of this however it a little bit more stylized. Today, we're going to go for realistic, and we're actually going to be doing a cheat skull, okay? So there's a software that I want to share with you before we jump into the sculpting part of things, which is called PRF. PRF. So you can get this software free. Just just have to look it up here in Google. It's called PRF. It's a really lightweight software that allows you to copy any images into your PRF file, this one right here. And in my case, I have two screens, so I can move this with. Sorry. I can move this with right click to the other side. And I'm going to be able to see my little skull on one side and sculpt on my other screen, okay? So how does this work? Super super easy. You're going to select any image like this one. You're just going to copy and then go into P Rf and control B to paste. There we go. You can move these things around, you can scale them, rotate them whatever you want. So the only thing I want to do is I want to get a couple of reference images. And one of the things that's really, really important is you should try to avoid using sculpted images, okay? You will find anytime you look for some sort of reference, especially sculpts and things like that, you're always going to find Ser sculpts or drawings. And the problem with drawings and Ciber sculpts is that sometimes, not always, but sometimes artists will make mistakes on their sculpting or sculptures. So if you use this as a reference, you're going to be copying those mistakes because it might look good, but again, there might be certain things that are not great. For instance, like this one right here. I mean, you don't need to be an expert artist to know that this is way, way too simplified, and it's not what we're looking for. This one, on the other hand, it actually looks quite good. It's a three D model looks a little bit better. Still a couple of soft spots. So that's why I always always recommend you get this kind of things like replicas, which are fine, or the real deal, right? Like if you can get the actual real deal for your sculpture, that's always great. So for instance, this one, look at this. It's beautiful. Let's copy this. And you can save us many images here on your pure graph file, which is fine. So I'm going to move this to the side. And now let's jump onto Seb, and let's start with the project. Today, we're going to start with something called dynamish. And I'm going to talk about this feature inside of Shh very short. For now, I'm just going to double click and instead of a project. I'm going to get or remove dynamic perspective, and let's get to it. We already know how to move around severs, and now it's time that we start thinking about the primary forms that make up this guys right here, okay? So we're going to do the skull open like this first one that I really like. And as you can see, we pretty much have two main bones or two main masses, right? We have the upper mass, which is this one right here, and we have the lower mass, which is the jaw. And if we see it on the front view, we can see where the holes and everything is, right? So it's going to be it's going to be quite interesting to create this sort of thing. So whenever we sc, Primary forms are shapes that capture the general silhouette of our object, or our character. So in this case, for instance, this upper area has this sort of like outside like a romboid shape, and that's what we need to do. So one rule of thumb that I want you guys to follow is anytime that we're sculpting and we're in the beginning stages of the sculpture, you're going to be using big brushes and you're going to be making big changes. I'm going to press and V. Let me turn on our little There we go. Key capturer There we go. So VM, which is going to be the shortcut for the mop brush. And while taking a look at my PRF, which I'm going to move to my second screen right here, I'm going to start moving this things to generate or start creating the overal shape that I think this call is going to have. So I can see kind of pushes like this, see how I'm moving it like this. I'm going to go to the backside. Let's go like this. I'm definitely going to push this up because this is going to be hollow. There we go. It's very, very important that we take a look at the reference because the reference is what's going to tell us how things are supposed to be. Things a little bit too flat. Let's push it. Again, see how I made the brush bigger and just push it in. Unfortunately, for me and for everyone who teaches sea brush, it's not as easy to teach seabrh because opposite to my blender where I can tell you exactly what parameters to use and what tools to use. It becomes a little bit difficult because you need to What's the word you need to feel it. I can't really tell you how hard I'm pressing on or the angle at which I'm moving things around. It's a little bit more artistic, which will take a little bit more time. Now I'm going to show you one of my favorite brushes, which is called the clay build up, and it's B, C, and V. The clay build up, I really like. It's like a standard brush, it's a little b harsher. It's a little bit more aggressive. I really like it because I'm going to be able to really quickly carve in the main shapes of our object like this one right here. Now, how am I carving? If I didn't change CAD to CSO, you can press Alt at any time, and that will do the opposite of whatever it is selected. So right now, I have CAD selected by pressing alt as you can see, I'm going to get this inverse effect. So I'm going to do this. And let's the little nose over here. Now, here's where things are going to start getting interesting because as you can see, one thing that's happening is that the polygons that make up my surface, my element are becoming a little bit too stressed, I would say. You can see how it's very smooth and nice over here, and it's really harsh and horrible over here and in the I. Why is this happening? Well, remember we talked about this button right here, the polyframe. These are all of the polygons that make up our little sculpture right now. And when we use our tools, the moon brush, the Damon standard, or the Heclabal standard or whatever, we're pushing and pulling the polygons up and down into the surface. We're not creating new polygons. That's where dynamish comes into play. So if you remember when we started this project, I said that we were going to start with the dynamich but I didn't mention what that was. As you can imagine, or if you've done a little bit of research before, Dyamsh is a specific way of working instead of severs that recalculates the surface of your object to add more geometry where it needs it. So if it detects that there's a lot of tension over here, like polygons are getting way too stretch, it will add more polygons over there. Right now, you can see that we have 43,000 active points, And if I were to turn off dynamish and turn it back on, you're going to see that we're now at 49,000, okay and as you can see, there's way more resolution here. There's way more resolution here, and now things don't look as bad as they look before. Now, I don't want to be going once and every single time that I need to recalculate turning this on and off. I don't want to do it over here either. This is just for me to know that dynamich is right now active. So what I'm going to do is I'm going to show you the shortcut. So let's say that we continue working. Let's I'm going to use my clay build to remove a little bit of the volume from here, which is kind of like the jaw that we have because we're going to have the like the main fangs over here. So see, now I'm adding a little bit of volume. I can also go to the mo brush. Let's move this thing around. For instance, over here, we have this very nice sgomatic arch. Well, I'm not sure if it's called the sgoaticrch in the cheetah. But in the humans, it's called that. This one actually, there's a hole that goes all the way back to the head. So we're going to have the effect on this call, see how I'm using Alt to remove some of the volume. Again, I call this primary forms because we're just getting the general sheep. It's like sketching. Like if you like drawing, it's very similar to sketching where you're just moving a couple of things around to create the proper elements. Let me use my mood bush and here's what we're looking at your reference is going to be really important. Take a look at this front right here and take a look at mine. See how my space Okay. On this area is way too big compared to this area. I need to fix that. My head it's way too big. I really like this inclination. I think we're not that far off. But we definitely need to fix the other parts. So I'm going to use my moot brush very big brush I'm just going to push these things closer in and get it a little bit closer to the reference. Because that's what people are going to expect you to to do on your creations. They want you to make sure that you're nailing perfectly or as perfect as possible, the reference that you're referencing, of course. There we go. Here we're going to have a couple of holes where the teeth are going to be. And again, I'm not worried about keeping everything super clean or anything because we are going to be fixing all of the stuff. It's just just a rough we sometimes call it the blocking as well because we're just blocking in the general shapes of the element. But see how again, we have a lot of stress in certain areas. So it's time to recalculate. I'm going to press control. And drag outside of my element. This is creating something called a mask. Masks are really useful. We're going to take a closer look at them later on. But when you create a mask and you have dynamice active and the mask does not touch the character outside of the character, it will that's kind of like the shortcut to recalculate the surface and make sure that this gives us a nicer, smoother effect like that. There we go. Now we can start taking a look at the back part of this thing. So let's start cutting cutting, cutting cutting here. Just to create a rich. Usually, skulls have the rich where they attach to the rest of the elements. I'm actually seeing on one of my references that there's a little crest over here, very useful. There we go. I'm going to use my moo brush again and just push this thing a little bit back. Super important, one of the best advices that I can give you guys, always, always, always turn your cameras around, like look around and make sure that you're analyzing your object from all of the different areas. Remember, the circut for the mood brush is B and V, and the circut for the clay built up it's BC B. There's also the standard brush, of course, which is B S T, and that will give you this one. Which, talking about that, there's a little bit of a bug that sometimes happens, and people freak out about this. If you by accident press just the T button, you're going to get this little message, it says, Hey, you want to change the 2.5 D mode. And if you don't know what you're doing, and you just say, Yeah, switch, whatever. This is going to happen. And you're going to start drawing, like, a lot of different skulls pretty much everywhere, and you're not going to be able to continue sculpting. Why is this? Because we jumped from the three D mode to the 2.5 D mode here inside of Serge, and we're creating like colash or something. So to clean this up, very easy, you're going to press control to clean the whole thing up. You're going to draw one skull, just one, and then you're going to press T again. And that will bring you back to three D mode, and you're going to be able to continue working. It's also known as edit mode or draw mode. So very, very important. You remember that one because it's a very very common problem that some of my students face. Let's remove a little bit more of this volume right here and a little bit of the volume right here. There we go. Now as you can see, the whole skull is becoming very, very nice. Now, some of you might be wondering, well, how could we cut a hole through this? Because I know in the reference that all of this area right here it is supposed to be missing. Is there a way in which we can actually cut that? The answer is yes, it's a little bit tricky, but I'm going to show you, of course. Just make sure to follow this. In the best possible way. So what we're going to do is we're going to use something called an insert multi mesh. We're going to insert a mesh, but we're going to insert it in such a way that we substract it from the object. So let me show you. If you press B, you're going to go into the insert ulthes and there's this one called insert mult mesh primitives. If you click that one, you're going to see that we have a lot of primitives. And these are really, really handy. Whenever you want to add a volume, like, very fast, let's say we wanted to add some spheres over here. You would just select the sphere, draw it on top of the character. And then with your Wk, you would move it into place. And now, when you use control and drag and then control and drag again, those things are going to be like joined together, okay? So very, very handy. The cool thing about this is, for instance, let's use a capsule. If you press alt and draw, you are going to draw these pieces, but they're going to be a little bit invisible. They're there. As you can see, they are there, but they're like, upside down. I'm pressing W, and I'm using this little thing called Gizmo to position them where I want them to cut the hole. So let's say right about there. Let's go like about there. There we go. We really need to make them go across the whole thing. We can rotate them around with little Gasmaus any other treaty software. These are just like ways to manipulate this object. And now, if we press again Q to go back into draw mode, I can press control drag again. And as you can see, we create a hole. So that's going to allow us to have a little bit more realistic thing here. Now, you can see it gets a little bit tricky here. It gets super super thin. To fix that, we're going to use another brush called the inflate brush, which is B N which is the inflate, and we're just going to inflate that a little bit. You never want to have super super thin areas because it makes it a little bit difficult to work. Now, as you can see, we have the hole. Now, it's just a matter of polishing it, right? So I'm just going to start doing a little bit of sculpting here. So that the hole doesn't look like a completely horrible hole and it starts looking a little bit more organic. And that's one of the ways that you can use or that you can do to create a hole. Another one would be to erase this whole thing together and just like pull this thing on one side, pull this thing on the other side. And once they meet, when you dynam mesh, they should join together, kind of like doing an extrusion. However, I really like this method that I just showed you. I think I think it's good. Now, I'm going to repeat it again just so that everyone is on the same page, and then we'll stop this video and we'll jump into the next part, which is the secondary shape. Let's do this again. So you're going to press B, and then you're going to select this primitives. You're going to select the capsule, and you're going to draw one capsule and press. Actually, you're going to press Alt first and draw the capsule so that it's an inversed capsule. Then you're going to press W, and you're going to move this capsule around. You're going to rotate this. Remember, you need to press W to access this little gizmo that you have right here. And you're going to position this. Imagine that we're substracting this piece from the objects. So we're going to position it, I would say right about there. Okay. Make sure it goes across. Even if it's not like the complete hole, it's fine because we can of course, expand it later on. And once you're ready, once you know that the piece is where it's supposed to be, you're going to press Q, and you're going to press control and drag outside of your object and then again control and drag to recalculate, and that will subtract the shape. You can press this key. I haven't mentioned this one before, which is shift. Shift will turn your cursor blue, and it will soften things up. So it's another way that you can use to kind of like bland things together. In this case, I kind of like using my clay build up to give it more again, more like an organic field to the whole thing. And there we go. Now, again, as we mentioned, if this thing becomes way way too thin, you can use V IN, which is the inflate brush to inflate this a little bit more and get more more volume. There we go. As you can see, we have this very, very nice blocking of the main shape of the head that we're going to be using to keep on building on top of this. Now, this is one of the things that it's always a little bit difficult for me to explain, but sculptures don't start looking great at first. It's a process where more and more refinement will give you a super nice and super complete piece. However, it is a little bit difficult to explain to some students at first that things will take it f. You won't be having a perfect sculpture at first. You need to keep polishing until you get a very nice effect. Let's move this thing right here. Before we move on to the next part, I want to show you real quick how to save because we've been working for about 20 minutes now, and it will be a shame if we lost all of our work. Sievers has an auto safe feature. So if you let it just sit right here, you're going to see in a couple of seconds, there's going to be a number over here, like waiting 60 seconds or something, and it will create an automatic quick shape. Quick shapes by default are saved in this area right here on the quick safe folder, and there are a great way to save some of your works because sometimes Sievers will crash, and you will get a quick save which will save you. However, if you don't have a quick save and you want to actually save this thing, I'm actually going to go all the way up here to the tool palette. Tool pallet. I'm going to hit save as. Let me go real quick to our project files. There we go, and we're going to save this as or actually, this is Chapter two. We're going to save this as Cheetah. Okay. Scull underscore zero one. I always like to do progressive saves. So if I need to go back to a previous version, I have the previous version. And again, it's very important that you save as a tool. If you try to close CRs, it's going to try and say, Hey, do you want to save this as a project, CRs project. I don't recommend saving as a CRs project. We're going to talk about this later because it usually saves way more information that you need and files become really, really, really heavy. So C tools are usually a better way. You also don't want to save as C files over here. So if you try to save this, you can see it's going to be a CPR. That's a project or a gift for a PNG, you don't want that. You want a CT. CT is usually the best way to In my opinion, the best way to save your tools. And yeah, that's it, guys. I'm going to stop it right here. Try to get to this point just like this general creation of the Chet's head. And I'll see you back on the next one when we add the jaw and start working on some of the secondary forms. So hang on tight, and I'll see you back on the next one. Bye bye. 5. Skull Secondary Forms: Very well, guys. Let's continue with the second part of this very nice sculpture, which is the cheats call. Now, as you can see here on the reference, the cheats call has a jaw, and the jaw is going to be very, very important. This one seems to be a little bit more decomposed. I really like this one right here, which I think it's a cast. I think it's like a three D effect because it's really, really soft. So we're going to use it as a reference, but then we're going to deviate from it and create a little bit more interesting effect. So in order to work with multiple sptals because, yes, we could extrude the jaw from here, but I don't think it's really necessary. We need to use something called a sub T. So as the name implies, a subtle is another part of the tool. The main tool, in this case, is this call, subtols are going to be extra parts that we have. And generally, as long as you see a different part, a different island, a different object, you want to keep it as a separate subtle because it will give you better results in the long run. So to add a new subtle, is very easy. You're just going to go here to this option right here that says a pen, you're going to click it, and then you can depend any sort of basic shape. I'm going to start with another sphere. Which is this one right here. Now, to switch from one subtle to the other, you can click it here or click back, and you can also press old and click on the option right here. You can see it changes from this dark gray to light gray just signifying or showing you that it's the selected subtle. Couple of things about subtle. There will be something important about which subtle is on top. Right now, we're going to keep it like this. And you can change the name of the subtle. If you select this subtle and you hit rename, you can just write, for instance, chica. And that will keep it a little bit more organized. That's a horrible way to spell. I think it's supposed to be double TN. There we go. C T jaw and enter. You can duplicate them. You can delete them just very very careful deleting this undoable. So if you delete this uptol you're going to lose it forever. Just very mindful of that, not something that you want. Now, this is something we're going to be talking about this one later on. But these are visibility like masks or sets. So you can turn on and off the visibility of an object. So let's say we select the skull and we turn this little off that's going to turn the jaw off. Which is a good way to do it. But if you don't want to do the little, you can also do this visibility sets. So for instance, we can go to visibility set two, which you will keep this one on, and then we can go to visibility set three and switch it around. So now if we go to visibility one, we have both visibility two, we should only have this one right here. It works a little bit better when you have more sbtols and then visibility tree, it will only have this one right here. So you can again, switch around each one of these ones. Or you can use the little button right there. So now it's a matter of modifying this and creating the shape that we want. I'm going to use my mood brush, and I'm going to start moving this around. Now, as you can see, there's no symmetry. Very careful here. Every time you add a subtle, sometimes by default, it won't have a symmetry. So very important to make sure that you There we go. Let me just very important that we modify this. Now, I'm going to start pushing this back down like this to create the general shape of the jaw, right here. There we go. Very important to go to the front wall and this becomes thinner as we go to the center. Not super thin because we have a couple of teeth on the front. See, you can see me there changing the size of the tool a little bit and trying to keep it as straight as possible. There we go. Let's push it forward or backwards. There we go. Smooth, remember shift, smooth. And now we need to do, again, the same trick that we did before to cut the hole because as you can see here in the reference, the jaw is, of course, hollow. So you will see this sort of like U shape, but it won't have any sort of any other thing. So here's where turning off the skull will be a nice idea. Now, I'm going to do the same tricks. I'm going to use B, and then use a primitive, and let's use the sphere, alt and draw the sphere. There we go. So remember that's like a negative sphere. And then I'm going to use my moo brush to kind of, like, sculpt the sphere. See how I'm sculpting this sphere right here. To kind of go across the whole thing. Okay? So it can get a little bit tricky because we're saying like the other side of the sphere, which is fine. And then here on the front view, that gives me roughly a general idea of where this thing is going to be. There we go. Now again, control, drag, control drag again, to recalculate, Oh, we don't have dynamic. We need to turn dynamic on. There we go. But unfortunately, since we did this before having dynamise, I'm going to have to redo it. So I'm just going to press control C a couple of times until we don't have the sphere that we go. So that's dynamish first. Now when we go B, I, so this IMM primitives, alt and draw. Now it knows that that sphere is going to be what's the word? It's going to be? Substract it from the main shape. So let's go right about there. Let's go there. Push it like this. There we go. So now I can press control. Let's push this a little bit more. There we go. Control drag, control drag, and as you can see, we have this very nice hole. Now as you can see, the borders are really, really inconsistent. I don't like that. So I'm going to smooth them out with smooth with the shift key to clean the borders out. But at least now we have the shape. Now I'm going to introduce you to another one of my favorite brushes, which is called the trim dynamic. And the shortuts B for brush, T from trim and then D from dynamic. And this one flattens things out. It's kind of like a bbble. So if you've used any other treat software, this one works really, really nicely as a sort of bbble. So it will sharpen some of the corners, and it will make sure that we don't have that super sharp weird line that we have over there. Now be very careful because it follows the normals of your objects, so the direction of which the average faces are pointing. So you might see some weird behaviors every now and then, like there where doesn't really know how to do it. So a little bit of smooth and a little bit of dynamish here and there will be good. There we go. You can also use your clay builder by the way. So for instance, just start pushing a couple of this areas here to flatten out this join that we have. And look at this. Now, it really looks like a skull, because we have this very nice prominent thing coming here on this area. There's a little hole there. That's one attaches over there. And we're creating this very nice effect. Now, of course, we are missing the facts. I know the facts are going to be very important and we still haven't added them, but we will add them later on, and as you can imagine, we're going to be adding them as separate subtles. And again, this is where the process is really important. One of the main things that you want to look up for or try to always land on your sculptures is you want to make sure that you have a process that will allow you to take any concept, monster, character, creature, a prop, anything that will allow you to take any concept that you're given and deliver a final result. We don't work from inspiration. Inspiration is great, and it's a great motivator, but we need to have a process. And the process that I'm going to be showing you throughout this whole course is primary forms, secondary forms, tertiary forms, primary details, secondary details, and then micro details. That's going to be kind of like our mantra or the way we're going to be like following everything. I'm going to jump back here to the main phase. And as you can see, we have this area here, like this big fang, and there's a little cavity, and then we have the front fangs, and we can see it on this real skull as well. So I am going to use it or I'm going to try and capture that here. So I note there's going to be a big fang over here, and then we have a little bit of a crevice, and then we have the ice. 1 second. I get this sort of issue on my screen, sometimes it kind forgets where we are. It's very, There we go. It's like a bug. It happens sometimes when I press ten space bar at the same time. If that happens to you, sometimes you're going to have to reset the software, so just say real quick and then reset. Now this is way thinner. I can see under reference, it's a little bit thinner. I'm going to start carving out a little bit of the volume here. Let's soften up here to create the main section over here. Same for the nose, it goes a little bit further down. Let's really the effect here. There's a bone in here. There we go. Cool. Now, here on the top of the nose, I can also see that there's like two main volumes. So I'm going to use I'm going to create a shotgun barrels, like a double shotgun barrel. I'm going to introduce you to a new brush on this video, which is called the Damien standard. So Damian Standard was named after an artist named Damian who created this brush a long long time ago, and it's been on Crush ever since, and it's B D BDS Damien Standard, you're going to be able to carve in it's kind of like a knife. So we'll create this very, very nice sharp line here. And then we can smooth this out and see how nice that transition starts to look here on the top of the cheetahs. Now, I can also see here on the reference, especially on the real one on this one right here. See how the of the cheat is not perfectly circular. And right now because we use the capsule, ours is looking a little bit too perfect. So I'm going to use my move brush again because we're still in the primary and secondary forms, and I'm going to start pushing and modifying the form so that it fits a little bit closer to what we have. It's more like like an accelerated. So it's not perfect. That's going to give us a more realistic look as well, which is, of course, what we're looking. Now, there's also a hole right here where I would expect a nerve to be coming from. So I'm going to indicate the hole and just smooth it out. There we go. Then on the reels call, I can see like this thing coming back like this. And this is one of the cool things. I'm not expecting to have perfect anatomy, what's the word perfect perfect anatomy representation right now, we're not creating this for any zoologist or anything. It's just our first exercise, our first big thing. So the most important thing for me is for you guys to be getting familiarized with all of the tools and with the process, okay I'm going to use my moo brush here to move this thing forward because the jaw should be pretty much straight. And if we have the main fang over there, we're going to have one Let me take a look at other references. I see three main teeth over here. So it's like one over there, and then a second one is going to be over here, and then the third one is going to be over there. That's where the main fangs are going to be. And on the front, we have four. So I'm going to have one. Again, I'm using, two, three, and four. That's where the teeth are going to be once we get to the point of adding them. I'm going to use my old brush and I'm going to clean some of the surface because you can see it's starting to look a little bit wonky, a little bit like two dirty. So all of these areas. One way to clean them up is to just like polish them with clay build up and then smooth them out. It's very, very common in the sculpting world to do something like add the detail and then later remove it and then add it again and then remove it and add it again. That's going to add a very nice, natural build up to the surface, and then we'll create a nicer effect, as you can see, right there. So don't be afraid to erase and change some of your work. It's completely completely normal. Now, here's where we're going to face one of the main very common thing, and it might happen to you, so I might as well talk about it right now. When you have a small or a soft usually like a small or a thin surface, and you use a very big brush right here, you're going to see that we're going to start pushing from the other side like this, and that's something that we don't want, right? There's two ways to solve this. First, you can use a smaller brush. If you use a small brush, then the chances of that happening will be less because it's not pulling from the other side of the surface. But one thing that you really, really want to have is this thing called backface mask. Now, as you can see, and you're going to have it on your interface if you're using my same interface. If you don't have the same interface, you can find it here in the brush menu, and it's called Auto masking, and then there's this back face masking. Okay? So when you turn this off, it doesn't matter how big your brush is you're not going to be pushing or pulling from the other side, which is really, really handy. This is per brush. So every time you change the brush, for instance, let's go to the standard brush, you're going to have to turn it on again. So that's why I have it as a button right here because every time I change a brush, and every time you start C brush, you need to select that one as well. So that one's really, really, really important. So let's add like the little holes that we're going to have, which are going to be here. These are like the bottom fangs. And then this are a couple of other bottom fangs right here. We're going to have four over there, and then we're going to have one, two, and three. Okay. So now we have pretty much all of our secondary forms ready to go. As you can see, our scroll is looking better and better every time. And again, this is what I was mentioning. I'm not sure if it was at the beginning of this video or on the last one. But sculpting is one of those very, like, process heavy parts of the whole thing, right? So you're going to be like pushing and pulling and modifying and adapting a lot of these things until it looks really, really good. So you won't have a nice effect at first, and we can go all the way back here, like, let's go to this part. We just had this sphere, right? And as we started pulling and pushing the forms, like, at this point, you might have been like, this looks horrible. This doesn't look like a cheetah at all, the more we move it, the more we modify it and the more we add to it, the closer and nicer it's starting to look. So this is the process that we follow. For me, I tried to make these exercises relatively fast and quick so that you guys can follow along. But usually, this sort of thing will take you like a full day, four, five, 6 hours until you really nail the whole thing. This one is going to take us about an hour or maybe a little bit more. But yeah, just keep in mind that these sort of things take time and you need to be patient and you need to build the form until you get it right. Okay? So I'm going to stop to be right here, guys. We're going to finish here with the secondary forms. And in the next one, we're going to be talking about the fans and how we can create a very nice and easy way to create several of them and duplicate them and populate the whole thing and start getting the whole shape of our chea together. So keep on working. Try to get to this point, try to get the jaw in, try to get, like, the holes where the fangs are going to be, polish some of your shapes a little bit more as you can see here, and I'll see you back on the next one. Bye bye. 6. Skull Tertiary Forms: Hey, guys, welcome back to the next part of our series. Today, we're going to continue with deteriaryfm. So let's get to it. This is where we left off. And if we take a look at our little reference you, you can see that one of the things that we're missing are, of course, the facts. So let me show you a very nice technique that we're going to be using quite a bit throughout the series to generate more meshes in a faster way. So the first thing I'm going to do is I'm going to append a new shape, which in this case is going to be a sphere. And I'm not actually going to position this sphere on its actual place just yet. I'm going to use the position that we have right now to sculpt it in this sort of like fang shape. Now, we've talked about this before, but you can press your letter W or click any of these buttons up here to bring up this thing, which is called the Guzmo. And this gizmo will allow you to transpose, remove the object around in a very similar fashion to any treaty software like Mayo or Blender. Now, I'm going to move this sphere to the front, as you can see here. Make sure symmetry is turned on as well, so we're always in the same plane, and I'm going to make it smaller. Then I'm going to make it longer, so we create this sort of fang shape, and I'm going to use my move brush. Here we go BM to create the sort like curve shape over here. There we go. You can see it's looking like a fang. Now, let's flatten the top here. I'm going to use B t and D to go into trim dynamic, and I am going to flatten the surface over here. So we can get a flat fang. We can actually go press F here to frame it. There we go. We can actually go into dynamise already so that we get this very nice shape. And now I'm going to start going through the sides, and I'm going to be sharpening this thing. So as you can see, imagine we got a stick on the forest or on the woods, and we're using a knife to sharpen it. It's a very similar process. It's going to give us this very natural, very nice effect in the whole thing. There we go. Now we can go with V and V again with the Mo brush and push this a little bit closer together, so we get a sharper fang. Let's push this one over here. As you can see, without a lot of effort, we're able to carve or create this very nice sharp fang shape. If you want to go really sharp, we're going to have to really push the borders over here on the back side. Let's go into MV again and push this again, there we go see how it's starting to look sharper. So just a combination of train dynamic and Mo brush will allow us to create this very nice fang. Now, it's a matter of positioning this guy exactly where we need. But first, I want to move the pivot point because as you can see the pivot point, it's not in a very practical position. It's going to be difficult to line this thing with this thing when the pivot point is down here. A very quick way to do that is to open this little lock that will allow us to move the pivot point and position it, let's say over there. Then we lock it again, and now when we move, we're going to be moving again from that specific point. If I want to move this to the side, I actually recommend to turn off symmetry for this just in case there's any weird behavior. And now we can scale this down until we're close to the size, which that one seems fairly nice and position it exactly where we want. There we go. See how cool this looks now. And again, as I've mentioned before, it's very important that whenever you have an object, just this one that is made out of different materials, it's better to do it as separate pieces rather than keeping it as the same as the head because it will look better and it will give you a nicer result. So there we go. Nice little fang over there. Now, I want to create the other fang. But before that, I'm actually going to create this inner fang and this inner fang before we duplicate or mirror everything to the other side. So the easiest way to do this is to press control alt and then click on this red arrow or any arrow, and that will duplicate the object. Now, as you can see, we don't have to work as much. Remember, smart, not hard. We don't have to work as much, and we're going to be able to create and position this like fang where it's supposed to be right about there, I would say. Then again, control alt and just move it to the side. Let's make this one slightly smaller. And get it right there. Cool, right? Now, as you can see, we have the front fangs of our character right here, which you can see the distance is actually not that great. One, two, three, actually, that's six. Oh, yeah, it's six, it's one, two, two small ones, and then a bigger one. Let's do the bigger one. So I'm going to control D, and this one is slightly bigger. I'm actually going to rotate this one a little bit. Like this. Move it a little bit for up. There we go. So that means that, of course, over here, we're going to have to do something as well. But there we go. So now, as you can see, we have four fans right here on our character, and this should allow us to mirror them to the other side. However, before we mirror them, it would be a nice idea to add like this what are they molars or something over here, which as you can see have this very irregular shapes, right? So I'm going to go into a pen. I'm going to append a new sphere. And I want to combine this sphere with the rest of the alum so that all of the teats are in the same subto. So I'm going to select this one right here and there's one called merge, merge down, and it will merge it with the one. Oh, my God. Okay, so it crashed This is very common. Don't worry. Don't panic. Sometimes it happens. And the cool thing about this is usually when it's like a controlled crash like the one we just saw, Sabh will save a quick safe file. So you're going to see it right over here. I'm actually glad it happened on this stage of the element. No, that's not the one. Make sure you look for the one that says CPR rather than document. So this one right here. There we go. So as you can see, we're pretty much in the exact same place. We just depended this one and we're ready to go. Super important, if you ever crash, if you ever get this sort of crashes, safe, immediately safe. Before moving forward, make sure to save a copy just in case this crashes again. Let's try again, I'm going to go sub tools, going to go into the Oh, it actually did combine them. Perfect. Now, the problem is, as you can see, I can't scale this fear by itself because it's combined with the rest of the elements. So I'm going to do something very simple here, and it's called a mask. So let's turn off this guy so that we don't see anything, and I'm going to create a mask around the teeth like this. Okay. So now the teeth are mask, and if I were to go to W again, now only the sphere is going to be moving. However, the sphere is creating some weird elements, right? So I'm going to press this little button here, which is called G T on mask center, and I'm going to press this little thing that we'll make sure that the axis is completely center again. So now I should be able to work with this as its own like little molar thing, okay? So I'm going to keep this guy's mass, that's totally fine, and you can see that the molars, they're weird. They're really weird. I'm just going to do an abstract shape. So I'm just going to push this. Let's turn on symmetry again. There we go. So I'm going to push them like this. I'm going to use BTD trim dynamic to flatten this upper part. Let's sharpen some of the things over here. Then I can see there's three big mountains, there's a mountain here. We only use my clay built up, so there's one. There's two, and then there's three. So again, a rough, weird shape to get into the shape of the molar. If we want to do like super super precise, we would, of course, need to look for more reference, but I think this is good enough. Now, the only problem is if I do dynamis right now, you can see that the little guys right here, the three or the three teeth here, is it two teeth teeth, right? Te plural. So the trial guys right here are getting combined, right? So in order to avoid that, I need to go down here into geometry, and I need to go into dynamice. And there's a little option called groups, which will dynamise its own group as a separate piece. However, the problem is, you can see that all of these guys have different subgroups. These are called poly groups. We're going to have a little bit of a talk later on about polygrops because they're really, really important. But right now, the only thing we need to do is we need to go to poly groups and say a groups. And what other groups would do, and I can press this as many times to get different colors. And as you can see what other groups would do is they will add or create a different poly group, for each specific object. So now, if I were to say geometry, dynamish, but I keep groups turn on and I dynamish, each object will be dynamice in its own island. So they will not be combined, which is super super handy for us. So yeah, there we go. Now, you can see that this one has more resolution. That's because of the size. Depending on the size of your object, the resolution of the dynamish will change. We'll talk about that a little bit later. So let's go back to Soptal here. Turn back on the sals. Grab this guy, let's mask it, and then to invert a mass, to press control, and tap. And that would switch the mask around. So now I'm going to be able to move this guy. Let's get rid of symmetry, and we're going to do the exact same process that we did for the front teeth. So we're going to have one right there. Again check the reference. So you can see that first one is really small and then there's two big ones. So this one is going to be like small one, and then again, control alt, And then the second one, you can see it's a little bit bigger. It actually has a different shape. We can change that later on, and then the third one is really, really big. So again, W, control, move to the side. Let's make it smaller. Let's roll to the little bit, really get it in there, and there we go. So now all of the teeth of our skull are there and they're looking quite nice. Again, at this point, you can just just your move brush, and you can see that this one is a little bit more triangular shaped. So just move this and create more like a triangular shape to the whole thing and that's going to look good. Now, I am going to go back again into my poly groups because one thing you're going to notice is this one don't have any polygroups or white. That's bad for us. So I'm going to go into poly groups, and I'm going to say other groups again so that each individual teeth has one specific poly group. And I'm going to show you a very, very super handy tool that we're going to be using quite a bit. I actually don't remember if we have it here. I don't think we have it, but we can add it later on, which is C plugging. Subtle master, and it's called mirror. So plug ins are, of course, extra little ads, extra little tools that we have here instead of Crush, and there's this one called subtle master, and there's one called mirror. And mirror is really, really, really good because as the name implies, you just select the axis, which in this case, is the x axis, we select that we want to keep them in the same subtle, and we just hit. And as you can see, now we have the exact same teeth, On both sides of the elements. Pretty cool, right? Look at how nice we have the fangs and the front teeth, everything. Now, this doesn't mean that we can't modify things For instance, now, I'm going to turn on symmetry, and I'm going to show you BMT, which is mopological. And Mopological is really cool because it will only move things that are in the same island of faces. For instance, if I need to move this guys back, I can just move them and they're only moving, as you can see, the teeth that are part of the same island. So again, just the ones. If I were to use the traditional movet everything moves, which is not something that we want right now. Now, one of the great things about using subtles is the fact that if I were to jump back here to the main shape of the skull and I were to use my clay build up, every subtle that we have will act as a mask. So if I were to add at, like, bone over here, you can see that it very nicely hogs the surface without me having to worry about going over it. So it knows where the other subtles are, and it will create the perfect cavity for them. So it's really, really, really handy. And that's why I strongly recommend whenever you see an object or a creature that has, like, multiple parts, do them as separate subtle. It will give you more tools. I will give you more control, and at the end of the day, it will look a lot a lot nicer. As you can see right here. So I think we have a very low intensity. Let's up it up a little bit. There we go. And as you can see, look how nice the transition is now into the fangs and into the molars, right? Really cool. Now, what if which is a very valid question. What if I wanted to use the same fangs, but down here and the same molars, but down here is the way to do it? And the answer is yes, we can duplicate them, but we need to do it in a smart way, okay? So I'm going to go back to subtles and I'm going to go back to the teeth here. And a very common option will be, why not just duplicate? And then we double you? We center the pivoth here or sorry, here. Let's go to the origin. Like here, pressing Alt and then clicking and then just rotate this around. And that's it, right? We could just rotate this guys around 180 degrees. And there we go, right? We could just position them where they're supposed to go. Well, the problem there is, we're not going to get the exact same results. I'm going to show you a better way. I'm going to delete this up too Let's go back to this one right here. And what I'm going to do is, I am going to duplicate it. So I'm going to duplicate this. Let's shift and click the little icon so that we isolate this one, and I only want the fans. So I'm going to control shift. This is a very important shortcut. It works with polygroups only. And it's control shift, and click on your object, and that will isolate that specific poly group. And then I'm going to go into my geometry tap modified topology and delete hidden. And what that will do is now only this guys are here, okay? So we pretty much deleted all of the other facts over here. So now it's going to be a lot easier to move these guys and position them where they're supposed to be. And we could even, like, if I were to press X to remove symmetry, I could press control, shift, and t and create this red box, which is called a visibility box and hide one of those. Let me show you here. So, see how I hit that one, and now I can go again to geometry and say delete hidden. So now, Only this little fang exists. So we pretty much deleted every single other fang from here, and we just got this one right here. I'm going to repeat that once we do the molar. So if it's a little bit confusing, don't worry, wait a couple of minutes and we'll go back to it. I'm going to move the point here. Remember how we did it before. So we have it right about there. Let's turn on now the jaw line. And let's move this guide down, rotate it, and then let's rotate it like this, 180 degrees, so that's facing forward. And we're going to, of course, position it, scale it, probably make it a little bit smaller and position it. On this. On the reference, I can see that they're slightly facing outwards. So we're going to move this again a little bit. There we go. Let's move the foot point to the center. It's going to be a little bit easier to manage and just a tad bit smaller. Just keep playing around with the proportions until we get it right or as close as possible. Okay. There we go. I really like how that one looks. Important to, of course, turn the other ones on and make sure that they're not collapsing with each other. So if we need to rotate them a little bit, I think it's a good idea. There we go. That looks good. I think size wise, a little bit bigger. So let's make them stubbier, shorter. There we go. Think something like that's a little bit better. Perfect. Now we're going to do the same. Down here, I can see it's a little bit difficult to see, but it seems like there's six as well. So I'm going to do six. So again, control alt make them really small, not really small, but smaller, of course. Rotate them around. So that would be the first one. Let's make it a little bit thicker there. And then control alt. That would be the second one. It's very important that the third one is not going over the middle point because that could cause issues later on with the mirror. A little bit there it's not bad. Just just be mindful about that. I'm actually going to say B. Again, B t, which is move topological. Let's just push this guys a little bit further over here. Again, so they're not exactly in the middle section. We can fix all of these elements. That's no problem. We just want to keep them consistent. There we go. So remember what we did before, we would go to geometry, sorry, first to poly groups to give them a poly group to each little teeth right there, and then see plugging mirror, and we would mirror to the other side. There we go. So now we have the bottom row of teeths. And again, if I feel like this are way too big, which they do seem a little bit too big, I can just say B MT, which is more topological and start moving like symmetry, of course, start making them a little bit smaller. Because we can hide all of this with bone from the jar, right? So that's going to make them a little bit smaller. Now, let's repeat real quickly. Oh, that's dynam over there. That's dyno measure real quick. Let's actually go get into poly groups, other groups and then dynamic so each different or fang has a different poly group, and there we go. Let's do that same thing that we did but now for the molars, for this guys over here. I'm going to go here. I'm going to duplicate this tool. And then on this du duplicated tool, let's isolate it. I'm going to press control, shift, like this to only show these guys right here, both of them, and then I'm going to remove symmetry and heat control shift alt to hide this one over here so that only one of them is remaining, and I'm going to go into geometry. And then it's modified topology. I actually have the button over here, so I'm not going to use it. This is the last time I'm probably going to use it over here. So I remember it's in geometry, modified topology and it's delete headen. So that's why I have it over here, delete headen. There we go. And now this sub tool, it's only one molar. So let's turn on the jaw. Let's move this thing to where it's supposed to be. So this will be like the second molar, this one right here, and then there's another one over here, which has a weirshape which we can always scope later on. That's fine. Okay. That's one right there. And then there's a small one on the front. So again, control alt make it smaller. There we go. That looks good. And we are going to give each one of them its its own poly groups. So we're going to go polygrops. We're going to say auto groups, there we go. And then we're going to say plugging Mirror, we mirror to the side, there we go, and we're going to go subtle since I don't want to have as many subtles, I know that both of these guys are the lower teeth I'm going to grab this one. I'm going to say merge merge down. You can see now this are both the lower teeth. Let's turn everything on. There we go. That's the tertiary forms, my friends. Let me just rename this real quick. Let's call this lower teeth. Let's rename this one as well to keep everything clean. Upper teeth. And that's all. That's it. Four sub tools right now. Here's where the visibility sets could come into play because we could separate one without the teeth, one with the teeth, et cetera, et cetera. But as you can see, this is looking pretty good. We're in a very good position, and now we can start polishing pretty much everything that we have. So we have primary forms, we have secondary forms, we have tertiary form. It's now time that we start polishing these forms before we jump into that detailed part. So make sure to move or to advance all the way to this part, my friends. I'm going to save this real quick just to make sure that we have everything backed up in case anything wrong happens. And yeah, it's time to start working on the main details. We're not details yet. We're going to polish a little bit of this thing first, and then we're going to jump into the details. So, hang on tight, and I'll see you back on the next one. Bye bye. 7. Skull Refinement: Hey, guys. Welcome back to the next part of our series. Today, we're going to continue with the refinement of the sol, and we're going to be talking about something called DyamshRsolution. So as you can see, we have a very nice shape. Most of our basic forms are there. It's looking cool. It's looking close to our reference here. As we mentioned, this one is a little bit softer. This one is really, really, damaged and corroded or eroded. So we're going to go to an in between. Now, the problem here is we are now faced with a very important conflict, right? And that's the fact that even though our shapes are looking good, we can still see the pixelation of our elements. And that's because right now, our dynamis resolution is set to 128, which is not bad. However, now that we want to jump into more specific details like this crevices or like the changes in shuette and stuff, we definitely are going to need a little bit more resolution. So my general advice, this is just one way to do things, which is dynamic. We're going to talk about several other ways to build our sculptures later on. But in dynamic, my general advice is never go higher in resolution until you've used all of the amount of detail that you have available to yourself, okay? So try to keep your resolution low until you need it because a lot of people tend to go really, really high in the resolution, and then it becomes a little bit harder to work because as you're going to see, certain things are going to be a little bit more complicated. So I'm going to up the resolution and recalculate dynamise and as you can see now, my squares, my little squares shares are way, way bigger or smaller rather. And that is going to allow me to have a little bit more detail. So let me move this thing to the left side. There we go. So that we can see. So I can see that detail. So what I'm going to do now is I'm going to start using again, my mood brush, for instance, VMV but I'm going to use a smaller brush to start changing the silhouette a little bit. So you're going to see me going here, for instance, and then, for instance, like with the clay buildup, and I'm going to start carving in specific areas of the eye. So for instance, let's do like a ridge here inside of the eye. Sometimes bones have the ridges, and you can see I really like the texture of the clay buildup. I feel like it looks very like man made, which is really, really cool, doesn't look like so C G. So I'm breaking up the silhouette here, and I'm kind of going into the different parts. I can also see There's another like a rich coming back here. So I'm going to follow this, rich, see how I'm creating this hard surface. And then I'm going to smooth. Of course, I'm going to smooth to clean that surface up because I don't want this to look like like bubble gum or chewing gum. I want to make sure this looks a little bit more interesting, right? So, I'm just going to start pushing these things around. There we go and smoothing them out a little bit. Remember, smoothing is to hide some of that texture and then to build up on top of that texture and create some very interesting effects. I like to use my clay build up like a sketching tool, as you can see there, creates very, very nice effects, very nice forms and silhouettes and makes it look very, very natural, very cool. See how nicer this looks. Now, I'm also going to use my trim dynamic. Trim dynamic is really good to polish and keep the bone. What's the word? Really strong effect. Let's control and clean that up. There we go. Again, that weird little bug. I found that turning off and on the floor helps bring Sievers back from that limbo or something. So let's go here. Let's start adding this volume. And in one of the reference that we have over here, I can see that the fangs, they create this sort of, like, cylindrical effect. They're really, really big on the root of the teeth, right? So I'm going to add this sort of effects how I'm going side to side, and then smooth them out. And it's going to create this very, very nice effect over there. Perfect. Same thing for the front teeth here, we can add the sort of like root canal sort of thing. So it looks like these things are actually going into the skull, into part of the bone. On the nose here, I'm actually going to start carving a little bit more aggressively because usually the nose is really, really thin. There's a lot of bones inside of the nose and they're really really fragile. That's why when someone hit someone else on the nose, they usually bleed a lot because there's a lot of bones and tissues there that make it a little bit sensible or sensitive. So I'm going to start again, adding form. It's all about adding and removing form, changing the way things look to make it look more and more interesting. Notice how I'm not leaving or letting any single space be left without the details, right? So I'm making sure to go all around the call and make sure sure that every single part that I'm working on has at least a little bit of surface detail, a little bit of tertiary form and polish because otherwise, you're going to get certain areas that are completely unworked and then other areas that are like super super detail, and that that doesn't look good. So you want to make sure that this thing looks good from every single angle. Now, on the damage one, let me show you here. On the damage, I'm seeing this sort of, like, very interesting rich. I really like it. So I'm going to duplicate or kind of copy that thing in here. So it's like it's like a rich that goes in here. Because usually the skull is not a single bone. It's actually made out of several bones that connect together, fuse together and create our skull or any animal skull. So I'm using here Damen standard to cut into the group and then clay build up and see how that makes it look a little bit more natural. Pretty cool. This little hole here where one of the nerves is going to be coming through. Let's make it a little bit deeper. It's a little bit more intense, more visible. There we go. And again, if you really don't know, because I'm not a cheetah anatomist. I don't know about all of the zoology anatomy that I might need to know, but I can understand how certain forms and things will happen. So if I add just a little bit of noise all around here, this is going to make it look like a very old, very damaged skull, which is kind of what we're going for. Sometimes you don't have to be unless you're working for like a scientific journal or something where things need to be perfectly perfectly scientifical and perfectly accurate, most of the times, as long as you capture the essence of the character or an animal in this case, you should be more than fine. So, for instance, here, the psychometic arch, it kind of goes like out. So there's a little bit more like going out and going down. It's more like like a curve. So I'm going to use my move brush big brush and start moving these things around. There we go. Okay. I like. Now I'm going to click this guy and I also need to increase the resolution. So let's go to double the resolution and sometimes need to change something and then dynamise or sometimes just turn on and off again. There we go. And now we should be able to start working a little bit more on the effects. For the jaw, I usually like to have a strong jaw line down here. So I'm going to create this little line here with my clay build up, see how I'm going all the way around kind like creating a border. So when we smooth that border, it kind of looks like a rich, right? So like a very organic rich that gives a little bit more support to the whole jaw. You can see that the bone changes here. This is an excellent exercise, by the way. This is why I love doing skulls for a first exercise whenever I'm teaching someone rush. Because it teaches you to look into the reference and to copy things that are just seeing in the reference and try to match them as closely as possible. And that's always really, really good. You're going to see a lot of clicks over there. I might change this size I think it's a little bit too big. Let me try this real quick. There we go. Keyboard. Let's try font size. Let's do 20. There we go. Can close this. There we go. That should be a little bit less intive, right? Let's smooth this out to clean it up a little bit. Very important to add the little volume on top of the molars here to make it seem like they're actually going. Also on the other side, a lot of people forget about the inside of the jaw whenever we're doing these things, and there are a couple of angles where you are actually going to be seeing some of this effects, right? So Okay. Very important. We have symmetry turn on, that's of course, helping quite a bit because it's making it a little bit easier. Let's add this root canals again. Smooth them out. Same thing on the inside. Let's carve in a little bit here on the inside. Okay. Let's add a little volume there and smooth out. There we go. Again, as we've mentioned before, this is one of the great advantages of having subtles made out of different subtles that they know or sepers know that the other subtle is acting or working as a mask and they will try to move and sculpt around the objects so that you don't have any issues over there. I'm seeing here on the reference that the j also has a couple of little holes, probably, again, nerves and stuff. So it's going to be a little hole over here. There's another one over here. And over here, change in forms. This thing goes in like this, creates an interesting rich and there's a small protrution over here. Again, just add more volume. It's all about practice, guys, with three D and with everything art related. The more you practice and the more you try yourself, this kind of thing, the easier and the more natural all of this is going to come to you. I'm going to remove some of these things because I think we're going way too low. Actually, this thing seems to be Going further down or further up. We might need to find a little bit more reference to know exactly where the insertion of the jaw line is because it seems to be a little bit wonky right now. I mean, again, as a first exercise, we don't need to be super super anatomically correct. My main goal with this first exercise is for you guys to get used to the process and to the tools inside of S. Several of my students have tried this exercise before, and some of them have they're not really happy with the results after a couple of tries. If you don't like where yours is going, do it again. And again, and again, and as many times as you need. Sometimes doing something or like an exercise several times really really pushes you and makes you learn the things. I remember when I did my first couple of skulls, I would do them like two, three, four, five times until you get it something that looked nice. And the more skulls you do, the more exercises you do, the easier and the nicer everything is going to look. So I'm carving a little bit more out here because there's another reference that I'm looking at that has more holes over here, and this is roughly the shape that we're going for. Very important, it's very important that we try to keep the same sort of consistency on the dynamic. So if everything is at a really high dynamise, everything should be at that same dynamic. So you can see right now this teeth, they don't have the same amount of dynamic. I'm going to grab the picker here and I'm going to pick this one right here. If I grab this picker, I should be able, there we go to grab this guy right here, which says should be 264, and when we dynamise this guys, now there's more resolution. If we need more resolution for those guys, we can go a little bit higher. Careful, J. Dynamic. There we go. Let's go. There we go. Then just move this out. Let's turn this on to see the dynamis. For some reason, some of them are not dynamising. I'm going to press Control L. Sorry, Control F. Oh my be. It's not control F. Control I've created a folder, which I don't like or want right now. So let me I'm going to bring this up. There we go. So we're going to talk about folders later on. What I want to do is going to have all of them be the same the same poly group. So I'm going to go down here, polygroups I'm going to press other groups. There we go. Sorry, group visible so that all of them are the same. Now we go to geometry, turn this off, and we turn dynamic on there we go. See now all of them have the exact same resolution. They're going to have enoughly high resolution so that we can work on these elements. For the teeth, the only thing I want to do is I want to have a little bit of grunch on the borders. You know, how animal teeth usually are more damage towards the root, where the foot gets stuck. They don't brush their teeth, right? So we're going to have a little bit more of that sort of like damage. And then the outer part is going to be a little bit more nicer. So just a little bit of texture work, especially like on the molars over here. And here's where if you if you want to spend the extra time, you can actually go and look up how each of the molars look in the actual part or cheetah and and create a very nice or try to copy the exact same thing. There we go, see how that looks a lot nicer. We're going to do the same thing over here. So click this guys. Let's go to poly groups, and we're going to say group visible so that they all share the same poly group. And now when we dyn mesh, you can see this happens. Now, when this happens, you can see that some of the t are combined. That's because the resolution is really low. If we increase the resolution and we dynamesh, there will be a little bit of joining. You can see some of them did join, which is fine. I mean, I don't mind especially on those ones that are really close together, But if you don't want them to happen, then again, you can try to do the groups thing while keeping the same polygraph. Let me show you how that would look. Let's go back. Here again, we go poly groups, all groups, and let's try again geometry with groups turn on, high enough resolution and dynamish actually work. Now we can just work with each one of them. Again, same process, we're just going to add a little bit of dirt and noise on the lower end of things. Let's turn on symmetry. So we don't have to work double, remember, work smart that hearth and there we go. Look at how nice this is looking. Let's go back here, remember, to jump from one subtle to the other, it's just about pressing Alt and click on the subtle that you want to jump on, and that should give you the result. Perfect. So I think we're in a very good position, guys. As you can see, our Cheetah Cull is looking really, really cool. We're quite close to the reference. I mean, we're of course taking some artistic liberties. But as long as you guys are learning the tools, I'm completely happy. Now, what we're going to do next we're going to be working on the details, and we're going to be doing two types of details for this one. We're going to be doing like a general detail and then we're going to do a specific detail. So hang on tight, and I'll see you back on the next one. Bye bye. 8. Skull Details: Hey, guys. Welcome back to the next part of our series. Today. We're going to continue with the details of this call. And as I've mentioned in the previous video, we're going to divide the details into two types of details. We're going to do a general of detail just like noise and general grange texture to the whole thing, and then we're going to do specific details. Actually, we're going to do it the other way around. First, we're going to do the specific details and then we're going to do the the different details. For the specific details, what I want to do is I'm going to grab my Damien standard, BDS, and we're going to be doing what we did over here, where the bones can emerge together. I'm taking a look at reference here, and there's definitely one line coming here through the middle of the nose. I'm using my Damien standard here to create this very nice suture line, and this is probably going to go to the back here. Again, we need to look for a specific Cheetah anatomy book, but this should be good enough. Now, I'm also seeing that it divides itself through the sides of the nose all the way to the front of the face. I call this a specific details because I'm going to be teaching you about Alphas very shortly, and there are certain things that Alphas won't be able to create, and this is one of those things like this or lines will be very difficult to generate or to create with Alphas by themselves. Let's take a look at the reference here. I want to add a line here. Again, some of them might not be anatomically correct, but I just think the sort of cracks and stuff will cool on our skull overall. On this area back here, like, again, it feels like I would follow the sort line or rich. Let's just go over here. Usually this sgomtic arc either blends or creates a division over here as well. So again, I'm inventing here a little bit. We're deviating from an accurate, like anatomical process. But sometimes the cool factor also comes into play, and it's fine as long as the project and the art director are fine with it. So there we go. Because the chances of someone being like a cheetah anatomy expert and taking a look at your skull in a game and being like, Oh, that's completely inaccurate. You would never have a line over there. Are quite low, right? So Again, there's a little bit of unless you're doing a scientific journal or like a biology textbook or something, there's a little bit of room that you can use. So there's going to be a lot of this sort of things where you're going to be going with Damian standard, adding like specific little lines and specific little cracks. Let's say maybe this guy had a very big crack on some part of the skull here. So I'm going to break symmetry, grab my Damian standard, and let's say just like a big crack. Maybe he died while fighting like, I don't know, like a buffalo or something, and he's going to have a big crack on the skull over here. So this is one of the great things about Sears that you're going to be able, to modify and change certain things that are going to make your project a lot cooler. So here's, for instance, let's break symmetry again. And I d of a crack, let's just create a little bit of a hole over here. So here's where we're deviating from symmetry, and we're adding specific details to different parts of the model. We're breaking the symmetry, but we're creating something a lot cooler, right? Something that's going to be very, very nice, for instance, let's add another one of those holes over here and make it seem like this call has been through a lot, right? Like maybe it's a fossil and we found it after a long, long time. So there's going to be a little bit of damage here and there, right? So go crazy. Have fun. B, be creative, try to find something interesting for your elements, and you guys are I think you guys are going to have a great great time. Ciber is a super super fun software. So if you're not having fun, you're doing something wrong. There we go. Now it's time to jump into the details. And whenever I talk about the details, I like to use an analogy, which is a cake, right? Everyone has had a cake, like a birthday cake before. And a lot of people are really talented and they create this beautiful decorated cakes. But you should know, and I think everyone knows that even though the cake might be like super decorated, If it doesn't taste right, then it doesn't matter how pretty it looks. It needs to look pretty, but it also needs to taste good, right? The bread needs to be, very nice, very moist, very fresh, and that's the kind of thing that we're looking for on a cake. Well, the same applies for a sculpture. The detail that I'm going to show you how to do right now is super super super super easy to do. But if you don't have good forms, if your primary, secondary, tertiary forms are not done right, then it doesn't matter how much detail you add. It's going to look wrong. It's going to look ugly, okay. So keep that in mind for this next technique. I'm going to go into my standard brush. I'm going to see B. The standard brush is the brush that we're going to use to add the surface detail so it looks like bone, rock. I'm going to change the stroke to spray. Spray is really good. I'm going to change the alpha to something a little bit grongy I'm actually going to go here into the light box and in the Alpha. We can grab this I'm going to have to use leather though. That's fine. Let's go here into the Alpha here. Let's use this which one would be good. I don't want that's a little bit too much. Yeah, I think this one Alpha 25 can work fine. So what's going to happen now is as we go over the thing, see how we're adding surface detail. That's good. But as you can see the dynamish is still a little bit too low. So I'm going to go into mature dynam mesh we're here and just go to increase the resolution dynamish we're over 1 million polygons now, and when we add the detail, as you can see, it's going to look a lot nicer. Now, what I'm going to do is, I'm definitely going to lower this and have this C so that we're kind of like removing elements from this and see how easy it is to just cover the whole surface in this sort of, like, grainy effect. This is one of the most powerful things about Seabh. The fact that Adding this sort of detail, like this sort of minimal detail. Later on, we're going to talk about ski detail and stuff. It's a really, really, really easy. So you can see it really doesn't take that much, and we're already covering the whole surface. One of the important things here is you want to keep your brush in the same size because if I change the size of the brush, the size of the detail is also going to change. And in this case, that's not what I want. So I want to keep the brush in a very similar size, and I don't want to overdo it. One of the very common mistakes is people overdo it. And as you can see, it's going to start eating away from our character, and that's not what we want. It's just a very soft thing. Like, actually, if you see this from afar, you're not even going to see the detail. That's why the primary forms and secondary forms are so important because those are the things that you're going to be seeing the most. But when you go up close like this, then we're going to start seeing this thing and it's going to look very, very cool. Let's jump onto the jaw and do the same thing. We're actually before that. Let's cover every single square inch on this guy. It's all of it so that we don't have any smooth section or smooth area. Everything should have a little bit of things. Let's go to the jaw line now. Same thing. Let's increase the resolution. Usually, you want close to 1 million, so that should be good. And as you can see, this is looking way, way nicer. Look at that. Now, see how this is not erasing the previous work that we've done. Like we're keeping pretty much the same work that we did before, like, the little holes and the canals for teeth and everything. And that's important because again, remember, those are the primary forms. These sort of like the building blocks of a hole culture. I'm going to go into trim dynamic. I'm going to trim this thing a little b more. It looks a little bit too sharp for my taste. So there we go. Now, for the teeth, I'm actually going to change this. I'm going to go in standard. I'm going to change this to drag, and let's use this Alpha 60. Be Alpha 60 will allow me to add this line, see that. Again, we definitely need a little bit more resolution. So let's increase the resolution, there we go. Now when we add this lines, as you can see here, it's going to look like the teeth are cracked, which is pretty cool. Be gentle, don't overdo it. You don't want to create such a dramatic effect or anything. We want to keep it simple. That's another one of the big secrets here. Keep it simple. Keep it nice. Don't go overboard here. I'm going to go here, and I want to add a couple of extra details. Now I'm going to do this. I'm going to do spray, and let's do little dots like this Alpha 23 real like. And in certain areas, I want to add like a little bit of, like erosion, right? So so a couple of areas of my character, we'll have like this sort of erosion sort of thing. And at any point, by the way, at any point, you can just go back and say, like, I want a couple of extra dots and things like a couple of extra damage in certain areas. Like you're free to go back and change. You might need to rebuild some of the detail, but as you saw, it's actually really, really easy to rebuild that sort of detail. So it's normal completely normal to go from one point to the other and be creating this sort of thing. There we go. Nice. Now, later on, we're going to talk about a specific Alpha and other things that you can do. But I think for now, this is really, really nice. I think we've got to a very nice point here without our sculpture. So I'm going to stop the video right here, guys, and there's just going to be just one more video in this chapter. We're not going to talk about rendering. How can we present this thing in a nicer light, literally. So, just hang on tight, and I'll see you back on the next one. Bye bye. 9. Skull Render: Hey, guys, welcome back to the next part of our series. Today, we're going to continue with the school render. So let's get to it. This is what we have right now. And as I've mentioned, we're in a very good position. I think this is looking quite nice. You are going to have, of course, all of these files in your project files for you to review and check the progress. Let me load like the first one that we did. This is what we had at the beginning, like a couple of an hour and a little bit over an hour ago, and look at this. Like we've managed to convert this into this very, very nice scull. So hopefully, throughout this first exercise, you've learned a lot about the process and the techniques that we're going to be using. This is pretty much all of the things that we're going to be This is the process that we're going to be following. Of course, there's a lot more tools that we're going to be learning. But yeah. So now, for the render, you definitely want to present this to your friends in Facebook Instagram, or maybe after your more experience, you want to present this in your portfolio. There's, of course, external software like Maya Blender or what's the word or Marmo set S Brush. Key shot. Like, there's a lot of software out there Bra I'm going to show you how to do a quick and nice render it inside of Sash. If you press this little button right here, which is called the best preview render, you're going to get render. And it's immediately going to look a little bit nicer. You can see that the floor acts as a ground plane, so you're going to see the shadow being projected there. But the cool thing is, there's a couple of lights over here that we can change to generate a slightly nicer setup. So I'm going to open this little thing right here so that we have this element over here, and this first little light bulb, I'm just going to move it to the side like this. Now, let's change this Matt grade to the started material. There we go. Remember this one. I don't know why I didn't start with this one. I think because we selected the dynamispre right? So remember the started material is the one that we got from Glauco and if we hit BPR now, you can see that we get a very, very nice effect. Now, I can turn a new light over here. Turn it on and move this little point to the other side like this. And now, if I render it, I'm going to have two points of light. This one's right now being over ridden. But if I increase the slight a little bit more and I hit PR, you're going to see that we have a very nice effect here, kind of like a ram light. Now, here's where using dynamic perspective might be good because you're going to have a nicer effect. Let's go to a side view or trick or view, something something like this so that we can really appreciate it. And you can click on any one of these ones, let's say that we want like a top view, and then that's like a ram light. Let's take a look at how this looks. Not bad, right? This is a little bit too much. So I'm going to decrease the intensity now. There we go. Now, the only thing I don't like about this is that the shadows are a little bit too intense, as you can see, and to change that, you're going to go into render BPR shadow, and you're going to decrease the GI strength. So let's say like a 0.4. So now the shadows are going to be a little bit lighter. The other thing I don't like because you can see is that the light is really sharp. It's like a flashlight, right? So I'm going to change this so that it's more like an area light. So I'm going to go again into render. And the angle, we're going to increase the angle a little bit. The more you increase this, the smoother the shadows are going to be. So this is going to look a little bit better. So let's decrease the angle. Let's say, I think, like a 50 angle is going to be fine. There we go. Yeah, that's a lot nicer. And we can, of course, change a couple of other things. For instance, if you increase the race or you increase the blur, it will take a little bit longer. Let's do like four blur and let's do like 54 race. It will take longer, but it should look a little bit nicer. You're going to see how the shadow starts looking even nicer and nicer. So this is a great render that you can take. The only thing that you need to do now is to export this. So let's find again, like a nice camera angle. Look, I think this camera angle is nice. Let's take a BPR render again. Wait for this to finish. Of course, this is going to be dependent on your computer. If you want to change, you can also change the focal length of your camera. So if you go here, I believe it was on the draw. You can see that right now, we're in the 50 focal length. Let's start like an 85 or even at 24 depending on how intense you want the distortion to be. I think 85 is going to be a little bit better for what we want. I want to keep it as standard as possible. I think something like this works fine. There we go. Let's PR again. Wait for this to render. There we go. Now, to say this, super easy, you're just going to go here into document, and you're going to export image right here. Usually, it's going to be AJP. I'm going to have it here on the project file. It's called this Ceder And it's going to give you a couple of options here to crop the image if you want to, to have the specific weight, right now, it's almost full H it's not full HD you definitely want your quality to be at the most. And you can adjust a couple of things. You can change the contrast, for instance, if you want a supercontrast image. You can change the brightness. There's a couple of post production things that you can do. I usually don't change a lot of these things. Most of the times, I do my renders in other software. But again, if you don't want to have any issues and just get your work done, this is a great way to do it. I'm just going to hit. And if we were to ni to our to files, we would find this image over there. That's one way to do it. That's one of the things that you can do. I'm going to show you one more. Just one more thing that we can do here. And that thing that I want to show you is the turntable. So a turntable you can do very easily here inside of the movie tab. And the movie tab is really cool because as the name implies, you're going to be able to do a turntable. Now, you can actually record your whole session. When you start working, you can record, and at the end, it creates this time lapse of the whole work. We're going to talk about this one later because it does take a little bit more memory. You can do a forward history or backward history, which is also interesting. If you do a forward history, you are going to be doing like how everything started. Now, here, as you can see, recording every single step. We can to cancel, right now, we're not what's the word? We're not doing any sort of thing. So I'm going to go again here into the movies. Let me delete any movie that I had recorded. Oh I actually don't want to save. Movie. And again, if I were to do forward history, as you can say, see here, it's going to record a video of the whole process, but it's for each subtle. So that's one of the bad things about this. Unless you're doing everything in a single subtle, All of the other subtles are going to be like finished, and then this is going to happen. You can see the cameras also moving around really really crazily. We're going to talk about some of these things later on. Just keep in mind that we have this. I'm just going to delete. Let's go all the way to the final part, which is this one right here. Let's find a nice little element here. I'm probably going to do no perspective for this one. So let's go right here. Or maybe, let's do no perspective like this. And I'm going to do EPPR very important that you do EPPR so that it knows that you want to do, full resolution here. You're going to go into movie and you're going to hit turntable. And what's going to happen is it will start rendering one frame for this thing. Now, right now, it is rendering the frames, but it's not saving them as a movie. It's just rendering the frames. So I'm going to pause this real quick guys so that this finishes the rendering. It's taking about 2 seconds per frame, and I believe it's going to be like 260 frames. So it's going to take a couple of minutes here, probably like ten or 12 minutes. Um, and once it's done, I'm going to show you how to export that movie so that you can show everyone your little skull as well. As you can see, the only thing is, since we are in this, like, perfect view, perfect from view, I don't think we're seeing the ground plane. But yeah, so let me pause this real quick, and I'll be right back when this finishes. Very well. So the movie has finished rendering. So I'm going to go here again into movie, and you can actually go here and say play movie, and you're going to see the movie. B the only problem. I'm not going to do it again, just because this is not the rendering chapter. We're going to talk about rendering later on. But the only problem is there's a couple of things like the overlay image and which opacity, the inside going inside going outside. Whether we're recording the whole screen or only the workstation. Just just want to show you that you can actually record this things inside of Sivers. No need to have an external software or anything, and it's going to look pretty pretty cool. If you want to export this, it's just a matter of going here, port. It will give you the same sort of, like window that I think it just does like an MP four. So yeah, that's just like a general overview of rendering. But we're going to talk about this in a little bit more in depth when we get into the final project, which is going to be very, very cool. So yeah, that's it for this chapter, guys. Make sure to practice, make sure to try to get up to this point where the call is finished. This is going to be very important so that you are up to speed and that we can continue learning more and more tools here inside of Savers. So yeah, hang on tight, and I'll see you back on the next one. Bye bye. 10. Minotaur Armature: Hey, guys. We'll come back to another part of this series. Today, we're going to continue with Chapter three. We're going to start with a new project, and this is going to be a really, really, really cool project. So let me just prepare something here before we jump into it, and there we go. Today, we're going to be talking about another way to start a project. The first four chapters or three chapters, Chapter two, three, and four are all about how to start the project inside of Crash. And today, we're going to be talking about armatures. So armatures are one of the things that we've been using in the sculpture world for a long time. And armatures are really, really good whenever you want to make sure that your proportions and your forms are adequately or adequately, yeah, prepare, okay? So you have the full control of your character. So the way we normally do this is we create a drawing, and then on top of the drawing, we build this skeleton that allows us to, for instance, post our characters before we start adding clay. There's a couple of other technical significance to the armatures, such as reducing weight, to reducing the material that we're going to be using. Again, keeping the form and the stability of the material intact in the real world. In the digital world, we really don't need to worry about that because, of course, the clay is free and there's no weight. So things are not going to fall on top of each other. But I do think that armatures are really, really important. And for armatures, inside of seers, we have something called C spheres. This is a really, really, really old like tool inside of severs and I think in the past couple of years, people have been kind of like getting or letting C spheres fade into the darkness because dynamic is so powerful nowadays. You can start with this sphere and create anything, right? But I do think that C spheres are really, really important because they allow you to keep your forms control, and having good proportions and good form are, as we know, the basis of a really good sculpture. So how do C spheres work? Well, we're going to learn how to build this sort of armatures. And the way this works is, you're going to start with like a mother sphere. And from that sphere, we're going to be extruding more and more spheres at different sizes, lengths, and everything until we get a shape that roughly equates to our final character. And then from this sphere, we're going to transfer it into dynamis and we're going to start sculpting more and more interesting things. Okay? So let's jump straight into CRs and let me show you how C spheres work. You can insulect C ferus by going here into the light box. And then all the way over here, there's this Che CPR, C project, going to double pick it. And there we go. Now, you're going to see that the interface changes a little bit. Like we don't have our usual, brushes. As you can see the brushes that we have are really different. They're like, sketch. We're not going to be using them. Same for this thing, like this are not working like exactly the same. We still have symmetry. Let me turn dynamic perspective. And the way this works is very easy. When you place your stylus or your mouse, I actually recommend working with a mouse for this particular section. So when you place your mouse on top of the object and you start drawing, click and drag, you're going to create new spheres. And then we double, you're not going to get the gizmo, but you're going to be able to move these things around. With E, which is scale, you're going to be able to scale these things up and down. And with R, right now, nothing is going to happen, we're going to be able to rotate this spheres, as you can see over there. So that's pretty much it. Another important thing is if you create more spheres that you want and you want to eliminate some of them, you press que, and then with old, you just click on the sphere, and that's going to delete the sphere until you are all the way down to the motherphere, the base sphere. Okay? So those are the basic tools and elements that we're going to be using now. Let's talk about the projects. So for the project, we're going to be doing a minatur and I really like Minatur. I like anything fantasy. Some of you guys already know from the YouTube channel. But, yeah, like Minats I think are really, really, really cool. And I think this is a great exercise. So Sorry. So we're going to be doing a bust. A bust is only like the per tours, because otherwise, this will be a full premium course. So we're just going to be doing the operators, but we're going to be building the base mesh of the mintor from scratch. Now, I don't want you guys to copy something from the Internet or to copy my interpretation of a minor. I want you to do your own. So feel free to play around, create different sort of things and find something interesting, okay? So this is what I'm going to do. I'm going to start with the chest, and this is going to be my chest, which has a good volume. Now, on top of the chest, I'm going to draw a sphere now, see how we have that little green dot right there. That means that we're in symmetry. So if we were to draw, this sphere that we create is going to be perfectly symmetrical. So that's like the abdomen rather, and then this is going to be like the chest. I'm going to move this thing a little bit backwards because usually in gesture drawing, the chest is stilted slightly backwards like this. Then I'm going to draw like the base of the neck, and then I'm going to draw the neck. And then I'm going to draw the head. Now, you need to be mindful, yeah, you need to pay attention here because you don't need to make this thing perfect here at the base mesh or the C sphere level. The most important thing about this particular part of the process is that things look good in regards to the forms and the proportions because we won't have as much control as what we're going to have later on once we get into dynamic, okay? So I'm going to press my letter Q again. I'm going to draw now like the snout. And that's going to be like my snout. And we can move this thing. You can see it's kind of like extruding, which is very cool, so something like that. And now let's start fixing some of this stuff over here. So, for instance, I want to have this big curbter here on the shoulders. Now, for the shoulders, I want to add these fears right about here. So I'm going to go back to my letter Q, which, by the way, I forgot to turn on our little carnac thing. There we go. So I'm going to press my letter Q and click this, and that's going to create a new C sphere there, and now I'm going to be able to draw. So I'm going to draw like the shoulders there. Let's go there. Perfect. And we're just going to move that. Now, see this thing that's happening there, that Siberh telling me, Hey, you know what? It's going to be a little bit difficult for me to understand what's going to happen here once we convert this into dynamise. So if you see this thing, it's kind of like a warning that Sieberg is giving you about the integrity of the C fheres. How do you know if this is going to work or not? If you press your letter A, you're going to get a preview. And as you can see, the preview is not bad. It's not a nice blob of clay. So even though it's giving me this warning, it's fine on the preview, so we can keep working. However, if you see that thing and you try the preview, and something doesn't look good, you're probably going to have to change it. What's the easiest way? Just move this sphere a little bit lower or There we go. So that one just move it a little bit so that we can work a little bit better. There we go. So we're going to move this forward, and that's perfect. So as I mentioned, we're just going to do the bust and we're not going to do shoulder. So just having this sort of like balls over there, that should be more than enough. Now, for the horns, I don't want to go for some crazy horns. So I'm going to draw one fee right here, which is going to be the basis of my horn. And then I'm going to show you this trick. I'm going to press Q again. I'm going to start drawing, and I'm going to press shift. When you start drawing a new sphere and you press shift, what's going to happen is it's going to copy the exact same size as the sphere beneath it or below it, okay? So now with Wu, I'm going to move this to where I want this horn to be. Let's go for some crazy horns like here. Then with my letter E, I can scale them down so that they're not super intense like this. And then with Q, I can add a couple of in between spheres like one, two, three, and four, and we can start moving them around to create something interesting, right? Like like a rbture to the horns. So I'm trying to think about something crazy. Let's go back and then forward so that he can, like, impale people with them. Think about, like, a video game character, right? Maybe look a little bit sharper. There we go. Now, of course, the more spheres you add, the smoother the transition or the whole thing is going to be. And here's where rotation comes into place because I can go to this first sphere and press R. And if I rotate this thing, which is like a bone, like a joint, I'm going to be able to rotate the whole thing, and that will give me different abuse and different interesting shapes for the whole element. So try it out as well, try to find out interesting things with the horns right there and you should find something cool. There we go. So I really like this armature right here. I think it's a good armature. The horns are a little bit too big, so I'm going to go here, and I'm going to actually go to scale them again, press letter to go into scale mode. And then I'm going to scale from the first bones that everything becomes a little bit smaller. Not that small, though, probably a little bit. There we go. Now, again, remember, we don't need this to be perfect. There are some people, some artists out there that I've seen create amazing sculptures with C spheres, they look almost finished with just like the proportions here. I think it's a little bit better to make sure that the proportions are working and then fix them with time. I usually think that that's going to give you a little bit of a better result. But yeah, yeah, this is the armature. Now, the secret question here is, how are we going to transform this into this, like into an actual workable mesh that we can work with dynamish And that my friends is going to happen with this thing called adaptive skin. So adaptive skin is actually the preview. Whenever we press the letter A, we're actually turning on this thing, the adaptive skin preview. And as you can see, it's giving us a density of four with the dynamis resolution of 256, so it's almost 200,000 polycons, which is fine. The only thing we need to do once we're happy with the result, such as this one right here is go here into adaptive skin and say, make adaptive skin. Up here, this is very important. Super super important. Up here, you're going to see that we have a new tool, which is this one called skin C sphere one. Right now, the active one is C sphere one and this one is called the skin C sphere one. Do not and I repeat, do not make the mistake of starting to work on this one right here. This is just a preview. And actually, you can work. You can actually go into the clay build up and do everything that you would normally do. But that's not the real clay that we need to work. It's just a preview. So you shouldn't do that. You should create the adaptive skin like this one, and then on here, now we can start work, okay? So, yeah, this is pretty much it for the C sphere thing. And again, as I mentioned, Capes are super, super cool, super advanced because there's so many things that you can do with them, like dinosaurs, monsters, creatures, characters, anything. And actually, if you go here into the light box, there's this thing called the CSF folder, and there's a lot of characters already ready for you. So we have the Cap dragon, Cp quadruped, Cape scorpion CSF quadruped three, Gael, And I believe there's actually another one, yeah. This CSU. It's called the CSU. And these are similar to C spheres. They're not C spheres per se. They're a little bit different. They're like armatures, but there's an armature for pretty much every single animal that you can imagine or at least any variation of an animal. So if you ever need to create an animal that resembles or closely resembles any of this, just double click on this one. You will open a new project, create an adaptive skin and start working from there. It will save you a couple of minutes, and it's super super handy. You can save your C spheres, by the way. So if you were to go over here and save this one, I'm actually going to save this one for you in case you guys are having any issues. So let's call this minotaur bus Che. So this is now saved, and I can continue editing. So one of the things that we've done before, there was a project that we worked where we had to do a couple of dinosaurs. We would create one CS fhere dinosaur like armature, and then every artist would grab the same armature and would variate or create variations on that one to create different species of dinosaurs. So super super handy. Anyway, now that we have this, now we can start doing again, our basic process, which is the blocking and everything. However, as you can see the horses right now, they're a little bit intrusive, right? Let's change our material to the started material. There we go. And the problem is, if I want to work on the neck and on the back and on the chest, the horns are going to be like not ideal over there. So I'm going to show you real quick how to separate a piece of an object into a different element. And there's a lot of ways to do it, but I'm going to show you the ECS way, which is with masks. If you press control, I'm not sure if we've talked about this before. I mean, we talked about mask, which is this one right here, right? But we haven't talked about masking the actual surface here. So you can actually mask out parts of your mesh, and whatever you mask out won't be affected by any of the brush strokes that you do. So again, super super handy technique. In this case, I'm just going to mask this horns. And if I go here into the split option inside of the subtal palette, I'm going to find this one that says split or rather split mask points, okay? So, I'm just going to click this and there we go. So now, this guy right here, the head, It's its own element, and the horns are its own element again. I'm just dynamising there. Let me soften the edges as well. There we go. And you can see how there are two different parts now. So that's going to be super handy because again, I could just turn off the horns for now, focus on the general shapes of my minotaur, my bull, and then we can move on to the rest of the elements. So I'm going to start working just a little bit here just to show you the basics of the forms here. And I'm going to use my movers. I'm only going to use the movers to show you guys how important it is to create the basic shape. So let's start increasing like the shoulder heres. There's some muscle, very big muscle on the back of the body called the trapezius muscle. So I'm really going to make it a little bit bigger. Same for all of these areas over here. I'm going to use my clavle to fill this up a little bit. There you go. Where I know that this is not an anome class, but I need to touch on a little bit of anatomy. Whenever you're working on anatomy, you need to make sure that you know where your bones are because bones are like the armature of the body. So we're going to have the clavicles over here going into the shoulders over here, it's going to be like the basis of my clavicle. Then we have the pectoral muscle, which is a really, really big muscle that we have here on the front. See how I'm trying to draw the lines of the direction of the muscle so that it follows forward. Let's give it a little more volume. Let's really buff this guy out. And then immediately after the pectoral muscle, we have a little bit of a dip. So we're going to see a little bit of a crevas like that, and here we're going to have the border catch border. So we're going to have something like this. There's a couple of muscles around here called the rads. We're going to be polishing some of this stuff later on as well, but I really want to get the cinder. There we go. For the face, well, of course, we know that we're going to have the eyes, somewhere around there. We're going to have the nose, somewhere around there as well. I want to have a big chin. And we also need a little ears, right? I'm actually going to show you a new brush here, which is very cool. It's called the snake hook. It's B S, and then they changed the shirct because it used to be H. Now it's K. B S K. It's going to ask you about this sculpture sp. We'll talk about sculpture spra later on. I'll just say, and skip this until next restart, whatever. The snake hook a really powerful bruh. I it's a really damaging bruh. It's a really aggressive brush because it really pulls the surface and it creates a lot of weird effects over there, as you can see. But once you dynamesh it back, you're going to get something a little bit nicer. There we go. Now, let's change the gesture a little bit because he seems to be standing like pretty straight. So I want to kind of give him like a hunch back sort of feel. There we go. Let's do it like a tank, like a really, really strong bowl. There we go. Now, let's say we wanted to create the bust effect where a couple of the areas are going to be like flat, right? Like if this was a statue. The easiest way to do it is by using a couple of brushes that we're going to be exploring a little bit more in depth once we get into hard surface, which are called the knife brushes. So if you press control and shift and you go here into the options, there's going to be this one called knife curb. And knife curb is one of the most amazing brushes. It's a newest brush. It got introduced in Ciber 2022, and the way this work is very easy. Do you draw this line. Again, you control shift and draw this line. And whatever is on the gradient side of things will be just like that eliminated. So I can move this with space bar, sorry for the spam over there, but I can move this over here, and when I drop it, you can see that anything that was on the gradient just got cut. It didn't go, flatter or something. We literally cut that piece out. So, as you can see, now, our arms are looking way cleaner and I can do the same thing over here, like on the bottom side, and there we go. So, see how cleaner now this looks. Let's turn this off, the polyprame. And now this really looks like like a statue. I usually like, especially on their arms, not so much down here, but I like to use a little bit of trim dynamic to get this sort of like chisel rock effect where it's not perfectly cut, but rather like chiseled out, right? So it looks a little bit more interesting. Let's turn on the horns again. And there we go. So as you can see, guys, we have our basis, the basis of our sculpture. This is a very good position. Try to get to this point, you know, create your your armature, or use this one if you're having too much too many problems, and then use your move brush, your dynamise, and your elements to start pushing and pulling the forms around. Again, as you can see, these are just not even primary forms. This is just like a general blocking of the shape because now we're going to start going through the main things. Okay? So yeah, hang on tight, and I'll see you back on the next one. Bye bye. 11. Adaptive Skin and Subdivisions: Hey, guys, welcome back to the next part of our series. Today. We're going to continue with the minotaur. So let's get to it. This is where we left off. And as you saw in the title, we're going to be talking about the adaptive skin, which is the dynamic thing that we just did and something called subdivisions. But before we do that, we definitely need to add a little bit of primary form to our general character right here. So let's get some real life reference. I'm going to look for a bull. Because, of course, bulls are the inspiration for minotaurs I just want to check or take a look at the general shape of the head. I'm going to be using this image. I'm going to use PRF right now, but if you want to, you're free to do so. And with my clay field up, I'm just going to start carving out certain areas. So I can see that there's a little bit of a cavity over here. And then there's like the mouth over here. The nose is a little bit lower than what I did. I'm going to use stream dynamic to really flatten this out a little bit more. Rever is always important to move actually like this one. This shape looks interesting. Again, feel free to experiment. I consider this to be like a free exercise. So you don't need to be super super realistic as long as it looks cool, then we're in a good position. We're exploring more tools and we're learning a little bit about the processes always. So I really like this accelerated kind of like phase, see how sharp and fast this phase looks. I kind of like that. We're definitely going to have some sort of sigmtic arc over here where the eye is kind of like protruding. So we don't need to do the ice right now. I just need to add where the ice is going to be. So roughly about there. I think is a good place. Let's do like a strong jaw. So I'm going to add a little bit more of a jaw muscle over there. There we go. The mouth is definitely going to fall over here. Oh, I like that. Kind of like an old minotaur. Maybe he's been cursed with this effect for a long, long time. Let's add a couple of more volume here on the horn so that it kind of like creates this transition into the main horn. I think that's going to be cool. Let's do a little bit of extra forming here again, just to make it interesting. I'm going to use my am in standard now to mark where the nose is going to be. There we go. Now, let's turn off the horns just for a little bit. So while we focus on like ears, for instance. So let's create a little bit of the gap that we're going to have here on the ears. There we go. Same over here, like a couple of lines. Now, back here, I would expect to see a little bit of a spine. So I'm going to add a gap there and then feel it in a little bit like this, smooth it out. See how that starts to look like like a nice spine. Let's just train dynamic to flatten this a little bit again. There we go. Now, I don't love this curve, so I'm going to fix it. I'd rather have, like a round, super super round curve. Now, for the neck, there's usually a muscle called the sternoclad mestodus in humans. It goes from behind the ear to the front here. So I'm going to I'm just going to mark it slightly. It's like the sort of B shape. It has a little extra leg over here. Smooth it out, so it's not like super super visible. On here, we usually have a little bit of a gap, so I'm going to I'm going to carve in a little bit here because there's not a lot of things going on, like at least muscles. Because this big guy right here, that's the trapcus muscle. That one super big muscle. There we go. We also have the deltoid, which we're not seeing quite a bit, but we can add a little bit of the deltoid over here, just to kind of suggest that the deltoid is going to be going over there. Back here, we have the scapulus they're like the sort of triangular shaped things, which we're probably going to cover with fur later on. But right now, again, we're just trying to get something here. Let's flatten the chest a little bit. I think it's a little bit too round and very important. In the chest area, we usually have a little bit of a gap over here. So I'm going to mark the gap over there. There we go. That's the mouth. We're going to be working on the mouth and everything a little bit more in the next couple of videos. But as you can see, we're building. We're building something, we're creating this very cool character. Let's have a little bit more of this bone over there. I think that one's going to help. Let's use damian standard to give it a little bit more definition here on the neck muscles. I like it. I really like this guy. It's looking good. And this is one of the cool things about Seers that since it's such a free software in regards to the artistic liberties that you can take. Sometimes you go with an idea and then you start finding, happy little accidents, happy little things that will make it different, like Bob Ross used to say, right? So just roll with them and see where they take you. If it doesn't work, no problem. We just change it. We just modify it and make sure that it works with another modification. Let's add a little bit more volume over there. And that's it. Now, I The horns are a little bit too thin now. The guy looks really, really buffed, really heavy, but the horns look a little bit too simple, right? So I'm going to grab the horn, and I make sure you're going to go B N, which is the inflate brush, and let's really inflate the horns, especially like on the on this area right here, there we go. He that starts looking a lot heavier, a lot nicer. We can, of course, move this out, even use trim dynamic to kind of like soften up those angles that we had from the Csphes which, again, another way to avoid those Csphre angles would be to add more c spheres. The more spheres you add, the rounder things are going to get. But for now, I think we can do this, and that's going to work. Yeah, really. Now, if you want to change something about the horns, remember, at any point, you can bring the gismo up like move it to the origin of the horns and you can move them around as well. So maybe you want to go really low with the horns like this, like a ram. Or maybe you want to go really high. I mean, you can change things. Even though we've already finished, like, the Cape thing, we can always change things around. So for instance, I think this curvature looks a little bit nicer. So I'm going to move it. I think I'm going to move them down so that from the side view, we can see the face, which I think will be important. And then we can even just like, give these guys a little bit more curvature. Look at that. Pretty cool, right? So yeah, this is pretty much it. Now, If I were to add ice, let's say we want to add ice, which is something very, very common that we do with characters. We add ice. And it's going to work in a very similar fashion to what we did with the cheetahs call in the past module in the past chapters. I'm going to go here into a pen and I'm going to append a sphere. I'm going to click the sphere, and we're going to move this sphere and position it where the ice should be. So let's go right over here. I'm going to make small yes. When you make smaller yes, things look a little bit more realistic, big ice tend to make things look a little bit more cartoonish, something like that. There we go. And we're going to do the same process, S plugging, and we're going to say subtal master and a mirror. And that's going to give us the eye on the other side, perfect, right? Okay good. So here's the problem, though. If I wanted to scope like the eye lid and everything here on the character, I'm not going to be able to do it. And there's two reasons why I'm not going to be able to do it. First of all, is, of course, the resolution. We have a very small resolution. So even though I tried to create the eye lids over here, and they look okay. They're not going to look great because as you can see, we don't have enough squares enough polygons to really make this work. Some of you might be like, well, we learned from the Cheetah that we can just increase the resolution and dynamise this, yes, we could do that. But even if we do that, see how the surface looks really, really, really dirty. So right now we're almost at 1 million polygons and the surface is still looking really, really like that. I don't like this topology. For those of you that are unaware, there's something called topology in the Treaty world, and treaty topology is super, super important because we use this to ensure that the deformation of any animated character works in the best possible way. Now, we're not going to go into this sort of topology where everything has to be perfect for animation to work, but having cleaner topology really, really, really helps with sculpting even better detail on our characters. Sometimes if you're doing a small pro or a small acid, small creature, staying in dynamic is perfectly fine. Fine. However, for more refined characters like diskI right here, I strongly recommend that after you have all of your proportions and your basic forms done, you jump into something called subdivisions. So let me show you how subdivisions work before we do them on diskI over here. So I'm going to go here and I'm going to say, let's grab like this cube right here and I'm going to make this a polymsh three D. So inside of the geometry tap, instead of going all the way down here to dynamic, we can stay up here in this area, which is called subdivisions. You can see that we have this division called divide. And if we divide, you can see that what happens here is, since we have all of these lines, when we divide, we pretty much multiply the amount of elements that we have by four. It's very similar to what we have in other software. Let me show you actually real quick. So, pretty much, I hope everyone has used a blender or Maya or something similar. But if you have an object in Blender or in Maya and you apply something like subdivision multifier like this one right here, it smooths the object. And the more subdivisions you add, the more phases you'll get, and the smoother the result will be, as you can see right here, okay? So that's exactly the same thing that's happening over here. Every time I press the byte, I'm adding one more level of subdivision to the whole thing, and that's allowing me to get even more and more details, okay? So in order for us to really use subdivision, we could, of course, use subdivision with this thing right here, which is the what's the word, which is the dynamish. But the problem with using subdivision with dynamish is that the topology, the way that the little squares are all organized, it's really bad. So it's not really going to help us hold the detail that we want. So there's a couple of steps that we're going to follow. So make sure to either write them down in a little note pad or in a little like something so that we can you don't forget because we're going to be using this process quite a bit. The first thing we're going to do is we're going to grab this skins sphere one, which is the main body and let's press shift and click to isolate it, and we're going to duplicate it. We need to have two of them. The main one, let's call this. Let's rename this and call this base, and let's call this target because that's the one that we're going to be rebuilding. So I'm going to select the target one, make sure that we're only saying the target one. And I'm going to go down here to the option that sets in geometry, C remeasure. Okay? C remeasure is a super powerful tool in set of sever that allows us to as the name implies, remesh, rebuild, recreate the wire frame, the topology of the model, in such a way that it tries to follow in the best possible way the flow of the object, okay? So the nicer your detail is, as you can see right here, look at that. So it knows that we need to have some sort of interesting flow over here, some sort of interesting flow over here and over here. And as you can see, this topology is way, way, way better, way cleaner than what we had with dynamise. This is still not good for animation, though. You won't be able to animate with this or at least not nicely because it's still very dirty, but it will be a little bit better for sculpting, which is what we're going for. Okay? Now, there is one thing that we can do to ensure that our s measure works a little bit better because as you can see there, like if I do it again, there's a couple of areas that Sabra really doesn't know what to do, and it just like creates whatever it needs, and that's it, right? And we don't want that. We would like to have some special loops, some special lines in a couple of places. So there's a nice brush inside of the brush pallet, which is called this one. Se measure guides. You can see it's here on our custom interface because I use it quite a bit. And the ser mesh guides, it's a little bit of a guide that you can add here to help the overall thing move along. Okay. Give me just 1 second, guys. So yeah, these lines right here are going to give you a little bit of a better definition. So for instance, I can tell Sievers try to give me a loop here on the nose. Try to give me a nice line going across the mouth. Try to follow the externocladmstod, muscle, try to go for the clavicle. Like if I tell Sievers to try and follow these things, when I do s measure by using this curve strength slider, I can help Sievers find the lines and the topology that I need, which will give me a nicer result. So let's just wait a little bit there and boom We should have, there we go. So as you can see now, this is a lot cleaner. You can see that the loops on the eyes, the loops on the nose. Everything is a lot cleaner. So this is going to be a lot easier to scalp. But we have a big problem. That's the first step. First step is to see remesh the target element, which is this one right here. The problem is that we had a lot of detail here that was already kind of good, and we can keep polishing that we lost when we did this. And the reason why we lost this is because this was almost 1 million polyigans and this was only 100, or sorry, 11,000. So we need to change this thing, right? So we need to modify the amount of points that we have here so that closely matches the amount of points that we had before. And here is where of course, the subdivision comes into place. So I'm going to go into geometry on the target polygon on this one right here, and I'm going to say Dibi one. We're at 47,002, we're at 200,000 almost. Three. We're really close. Now, you don't need to be exactly like you can go over or under by about 1,000 100,000 or 200,000, that's fine. It should hold like fairly nicely. Now that we are close to the amount of things, we are going to project all of the details from this guy right here from the base object to the target object. So you're going to select the target object, and you need to make sure that only the target object and the base one are turned on. Otherwise, other things could get projected, and we don't want that. You select the one that you're going to project to, which in this case is the target one that we renamed, and you're going to go down here to where it says project. And the only thing you need to do is say project all. And what's going to happen is brush is going to analyze all of the other subtols and it's going to try and move the polygons so that they match the origin or the position of the other polygons that we have. So let me turn this off. And as you can see, you're going to see if you see this sort of, like, grayish thing where it looks like ashy, that's a good indication. That makes you do things right. So I'm going to turn off the base. And as you can see this looks pretty much like what we have with the base. But this is not the base. This is the clean topology. So we're now working with subdivision levels without having to sacrifice of the work that we did with diners. Again, this is a technique that I use quite a bit, and it's really really recommended because of the following advantage. Now that we can actually delete this base. I'm just going to select this one and delete. Just be very careful when you delete, there's no going back, so make sure you know what you're doing. So the great advantage with this guy right here is if I want to work on the big shapes of the object, I can go to geometry and go all the way down in subdivisions to like this place right here. And maybe my art director is like, Hey, you know what? Like, we would like him to have, like, smaller ears. Oh, that's fine. I'm just going to grab my move brush and make this ears slightly smaller. And then I can jump all the way up to the final level. And here's a cool thing. Let's say, he has, like, a tattoo. Let's say, here, like tattoo. Okay. And we go all the way down. You're not going to see the tattoo. It's gonna be very blurred. But if you move things around, let's say, my r directors like, give him more pectorals, okay? I'm just going to bob him up. Like, really, really inflate the petroal muscles. That's fine. And then when we go up again, all of the detail is still going to be there. That's something that we can't do with dynamise because with dynamise whenever we change the resolution, we either gain or lose more and less polygons, right? So it's really, really, really cool to be able to keep all of the detail, work on the big shapes on the lower subdivisions and then work on the high stuff on the higher subdivisions. Now, there's a couple of shortcuts that you should learn to help with the subdivisions. Shift D will bring the subdivision level down. D will bring the subdivision level up. And if you're at the highest subdivision and you press control D, you're going to add one more subdivision level. You can see that we're now all 3 million pools, which we still don't need. We follow the same rule that we do with dynamice. We don't jump onto the next subdivision level until we've used all of the subdivision levels that we have. So there we go, guys. That's pretty much it. Now, we have a very clean topology, a nicer topology to do sculpting with, and we're going to be able to start detailing some of the secondary forms. So on the next chapter, we're going to be working on the eyes for this creature. Hang on tight, and I'll see you back on the next one. Bye bye. 12. Sculpting the Eyes: Hey, guys. Welcome back to the next part of our series. Today, we're going to continue with a miniature, and we're going to be sculpting the eye and some of the other facial features. So now that we can actually work with cool topology, because as you can see this is a cleaner topology that we can use to follow along the shape of the eye. It's going to be a lot easier to sculpt it. Now, on this other screen, I have a window with all of the different, i references that I'm going to be using. I really like this one right here. So let's take a look. So what we're going to do here is I'm actually going to press control shift and drag. Well, remember that one that was the knife brush. Let's change back to this select t. I'm going to control shift and drag on this y right here so that we're only focusing on this area. If you want to hide more pieces, you can just go to the side view, control shift t, and we hide all of this area, so that we're only focusing on this front part. This is a really, really handy technique like isolating parts of the model, because otherwise, Sarge has to think about the 8,000 100,000 polygons that you have, and it can become really, really intensive for your computer if you don't have a lot of ram. So in this case, it only needs to think about 40,000, which is exactly what we want. So, talking about form, I'm going to go in my clay build up and I'm actually going to change the alpha to a round alpha like Alpha 12, so we get a little bit more of an organic feel. And I know that we're going to have an upper eyelid. So I'm going to start adding the volume here on the upper eyelid. See how nicer this looks now that we have proper topology because it flows nicely with the rest of the things. Let's smooth the sound. There we go. And that's it. Now, the lower eyelid will be coming on this side. Again, let's add it. There we go. Usually, as with humans, bowls also have a little bit of a tear duct. Let's add a tear duct right about there. There's going to be a little bit of a membrane over there. Perfect. Smooth this out. Like all of this volume, we can smooth out. Now, I can see that back here on this area, we can push this forward. So we're going to have it's kind of like the eyebrow. But then as we go closer to this area, we start like a concave shape. So I'm going to start carving in this shape. Did a little bit of roundness over there. There we go. Same thing over here. Let's carve this a little bit out, so we create the transition, and here's where we're going to have the sac or Pack. There we go. Nice. Nice. Nice, nice. Here's the sigmatic arch, which is like a bone that supports the whole eye, and look how nice that eye is looking. I'm going to grab my dam in standard now, and very softly, very smoothly. I'm going to start adding some more details. So for instance, here on the eyelids, I really want to push the effect of this thing like going in. You can actually use the Damian sander with an inverse with t and drag and create this sharp line where the eyelid starts. Same for the top part. It's going to create a nice little shelf right there. See how nice that looks. With my move brush, I'm going to move this thing a little bit closer to the sphere. It's not like pushing so much out there we go. Dan stander again. Let's do a little bit of details here. Okay. Perfect. So see how nice that looks. That's what we want. We want to create some interesting shapes and realistic looking effects. And as I've mentioned before, this will take some time. Whenever we do this premium courses and this videos, tutorials I try to keep it short and simple so that you guys can follow along. But keep in mind that whenever you're doing a character for like a project, you won't be given just like one or 2 hours to do it. You're going to be given weeks, sometimes even months when the character is really complex to do the full process. So so take your time and make sure everything looks as nice as possible. So control and shift, click outside of the object to bring everything back. And let's start focusing on the nose now. So I'm going to follow the nose rich over here. Now I'm going to use the loops that we just created with the nose to start really detailing this guys over here. There we go. Let me look at some other reference here because I don't have any nose reference there we go. It's kind of like a weird shape because it the little hole is right about there, and then it goes down into the beginning of the mouth. And that's where the mouth is going to be coming out of. So again, see how I try to make my strokes, my brush movements follow the shape of the elements. That's something really really common. We do that in drawing quite a bit where you draw in the direction of the shape so that it supports the lines, I'm going to use them in a standard to carve into the mouth. There we go. There's a little bit of a separation there you can see how my minating Very menacing. There we go. So, how it creates a little bit of a wrinkle there. So it's not just one line. It's a couple of lines that they play with each other and they create this sort of more natural fill to the whole mouth. He looks very friendly. I like that. Maybe he's a friendly minotar. Now, for the chin, I don't want to have a stronger chin, so let's have a little bit more volume here. Let's support this whole jaw with a little bit more bone structure. So all of this will have a little bit more structure. Same thing over here. Usually there's a big muscle beneath the sgomtic arch, which is that one right there, which is the one that helps us chew things. So we're going to have that one over there. Perfect. Pretty cool. You can see how the forms are getting more and more polished and things are looking good. There are some studies from bowls where they're super muscular and stuff. Try getting some of those reference because that's really going to help. Here's where I'm going again, similar to the Sta. I'm going to start deviating from anatomy and just creating some cool shapes and cool forms. As long as they make sense, we should be fine. Let's blind that a little bit there. I think I want to push this like upper side of the head a little bit more. So again, with the clay build up, just really, really push this forward. There we go. Look at that. Pretty cool. Pretty cool. Nice. So as you can see, little by little, I mean, just remember how this thing looked a couple of minutes ago, like 40 minutes ago, we had this, nothing. And now after working with a little bit, we're in a very good position. Things are looking nicer and nicer. That's the big deal about sculpting, and that's one of the hardest parts because to teach because a lot of people take a look at this, like finished sculptures and they're like, Oh, I want to get there, but they don't understand that they need to go through very horrible looking pieces before getting to this n nicer effect which we have right here. Very subtle, very soft. As you can see, I don't go like super extreme. I go really, really soft, and I just build on top of each other. It's a lot of practice, of course, it's a lot of experience, but you need to start somewhere. So this exercises are great for that. Cool. So let's go back here to the eye, keep polishing it. So I'm going to start adding some extra wrinkles here. Okay. And one of the biggest tricks I can give you about wrinkles guys is number two straight lines. They look horrible. I use this thing called the Cris cross method where you kind of like crisscross each line, and that's going to give you a little bit more of a natural look. So for instance, if I want to add a wrinkle right here to really push the eyebrow, instead of just doing that, I'm going to do a criss cross and kind of blend in the transition from one point to the other. Okay? After I blended, I might even going in with a clay build up and add a little bit of volume because wrinkles are when skin loses its elasticity, right? And you will have peaks. You will have things that are pushing out, but you will also have ballis so you need to account for both of them, okay? Very, very important. Now, let's go to the ice. This is not something that I do all the time, but I'm going to give a couple of divisions to the eye. Control, control, control, so that we have a lot of divisions. Make sure to have symmetry activated. There we go. You can do an old school sculpture technique where you would carve in the eye and then fill in like a little sphere right there. And it's going to make it look like an actual eye. So that's a very common technique. Michael Angela used to do it quite a bit on his sculptures, and it looks good. As you can see, it gives some more realistic eye. It's just carving in and then a little bit of a sphere it's kind of like the light shining through the whole thing. Now, if I want to play around with these areas a little bit more. One thing I can do, for instance, I can mask out with control the upper area of the eye, and then with my move brush, I can move in the lower area and see how things kind of fit together a little bit more, a little bit more organically. And that's because we're protecting the upper area, and when we remove it, things are looking a little bit nicer. Don't worry about wrinkles and fine detail. We're going to be taking a look at that later on. But yeah, that's looking good. So let's keep polishing. Let let me take a look how we're doing on time. Okay, we're good. So I'm going to keep polishing. Let's do a little bit on the deck here. So again, cows usually have this like flap on the neck on the front of the neck. I'm just going to add it over there. I'm just going to add like this form. I don't want this again. We're not going for anatomical precision at this point. We just want things to look cool. So let's work a little bit on the ear. For the year, we definitely want to carve in a little bit more into the into the thing there, create the cartilage here. Just an indication. Imagine we're all the Greek artists and we're doing our interpretation of the minore, and we're just carving it on marble, right? So we're doing our best. There we go. Yeah, I like it. I really like it. Okay. Perfect. Now, for the chest, I'm thinking about what to do with the chest. I think we're going to go with fibers. I'm just going to start adding the main fibers that the muscle usually has. I'm closing the gap over there and then just fanning out like this. Very important. It goes into the arm, which we don't see right now. Over here, we have a couple of other muscles. There we go. It's just an indication. Again, we just want the surface to look like it's been detailed, even though we're not going for precise anatomical perfection. Because that will take way way more time. Okay. We could do a full course of just doing a minotaur and that would be amazing, but it would take quite a bit of time, of course. Let's go back here. Okay. Soften this up at the volume. There's a couple of muscles here, going into the arm as well. Then there's another one that goes backwards like this. Again, it's just an indication of general work that we're doing here on the character. Cool. So I'm going to stop to be right here, guys, just to keep things organized. And in the next one, we're going to be working on the horns because the horns definitely need a little bit of work. They're super playing right now. And whenever we work, one of the things that I always recommend is try to work with everything at the same time. You don't want to be doing more work on one area and then leaving something until the very end. I'm actually moral muscle here, and there's one thing we're missing. We're missing nipples. This guy is a mammal, so I would expect him to have some sort of nipples. No need to be super detailed, an indication up there and that should be more than enough. There we go. This guy is looking cool. Perfect. Nipples are a little bit too big. Let's smooth them out. We'll rework them later on. That's it, guys. I'm going to stop to right here. I'll see you on the next one. So when we continue working on the horse. I'll be right back. Bye bye. 13. Sculpting the Horns: Hey, guys, welcome back to the next part of our series that we're going to continue with the horns of our minatur. So let's get to it. I'm just going to click the horns and then I'm going to shift click on the little eyes so that we're isolating them. And I'm thinking about what kind of horns we want because usually bulls, as you can see right here, they're very soft. The horns are very soft, but I really like the Cimarron goat horns, like this sort of things like this, look really, really cool. And again, we're free to do whatever we want as long as it looks cool. So I'm going to show you a technique that we can use to create something similar. So what I'm going to do is I'm going to be using a masking. Masking, again, as we've mentioned before, works really, really well. So I'm going to mask out rings along the horns, okay? So with my control, mouse right here. I'm going to be masking some rings. The important thing here is we kind of need to follow the curvature of the horn. Otherwise, this is going to look a little bit weird. So make sure you're following and when the curvature changes, we need to adapt the rings a little bit. They don't need to be perfect. Usually rings in trees and in like horns, they bury they change. So for instance here, see how it kind of changes the direction a little bit. So let's change the direction as well. So it's going to be a little bit wider there, and then the ring is going to look a little straighter over here. There we go. Let's do one more. Let's do one more. And we just keep going along now. As you can see, we're still in dynamis. This one is not subdivision levels. This is dynamish that, of course, means that things are going to be working a little bit different. But that's fine. There we go, and let's do one final one. The tip is going to be really sharp, we're going to keep it like that. Now, what I'm going to do is I am just going to Let's go to the front view. There we go. I'm going to go into R, which is scale. I'm going to press Alt and go into go to axis, which is the center. Freeze this, go up. If we scale this up, you can see that we're going to be able to create this weird shapes that are going to give us a very interesting look. I'm actually going to scale this a little bit less. There we go, but see how nice this becomes, how we're creating this effect. We can also use something called the deformation. I think this one is going to work better. Let me go back. And there's this deformation down here in the deformation path. We're going to talk about deformations later on as well. But there's one called the inflate. Inflates as the name implies, will inflate the whole thing. So we can inflate this a little bit, and as you can see, we're going to create a very crazy looking horn. That's looking a lot lot better than what we had on the character. So by just adding those little things, look at how nice this character looks now. Now, I don't like a lot of this thing, so let's fix them a little bit. What I want to do is I want these things to kind of like fan out. So I'm going to blend in the beginning of each spiral. So instead of them looking like bands, I want them to look like they're like growing into this sort of like a ridges. So the beginning of each spiral, only the beginning, I'm going to train dynamic so that it looks like it's going or it's kind of like extruding out, right? So again, this is all about doing a little bit of research, looking at some reference and creating something that looks cool. So something like this. It's looking good. Just continue. As you can see, guys, it's not difficult. I wouldn't say that the sculpting is difficult, but it's definitely time consuming. It will take time to get to a really nice effect or detail, for instance, here, we definitely want to keep this really, really sharp. So we need to make sure that it makes sense, right? Like the volume of the horn is becoming less and less. So I want to make sure that it looks Like, it could impale someone. There we go. Now, if you take a look at this ram thing, you can see that there's like an upper ridge that looks very, very cool. So I want to have that. So I'm going to go here with my clay build up, and I'm just going to start building like an upper ridge. Like right around here. Right around here, like all throughout the upper part of my horn. And we can go with the Damon standard later on and add the line that we're losing. But it's important that we really create this very nice, interesting shapes. Because again, that's what people are going to see. People are going to be seeing this amazing sculpture, and they want to see, interesting shapes and forms, right? So here again with the Dimintandard, now we can go and recover some of those areas that we have, but now the rich is there. So we can follow the rich all along the upper area of our character. Now, here's where, again, the transition from dynamise to subdivision could help us create some nicer looking effects. So another technique that you can use, and it's very handy is you don't need to always reproject things because as you can see the shape here is really close to what we want. So if I were to just go here into a geometry, ser measure and just ser mesh this as is, like with no other thing, you're going to see that it's very similar. Cs does quite a bit of a good job, and now we can go control D, Control D, control D. And to get with clay buildup and start rebuilding some of the effects that we have here with the horn, right? So so you don't always need to have the base and the target. You can just sometimes remesh whatever you have. And as long as you get the shape that you're looking for, then you're good. You're good to go. So here, as you can see, I'm using my clay build up again, but I'm always following the direction of the horn. Very important. Let's jump into the Damon standard, and let's do a little bit of this like sort of criss cross technique to to generate the divisions. There we go. As you can see, our horns are looking a lot more interesting because we've added all of this visual interest to the whole thing. Don't worry about the high frequency detail. We saw in the ramps there that they had like this fiber looking things. We're going to be adding those at the end when we work on the details, which is going to be very, very shortly, actually. And that's going to add a lot of interest right now, this is primary and secondary forms. So we want to make sure that we're really, really marking this sort of effects going all the way across our character. There we go. Okay. Just go all the way around and create this cool looking horns. Again, my mess have mentioned before. You need to have fun. This is a fun process, and it's always important that you have fun with the whole thing. Let me go with clay build up again and I'm going to add a little the noise to the ridges. I just want to remember this upper ridge that we have. I'm just going to build it right here. So it looks like we're going through the main part over here. There we go. So again, primary forms, secondary forms, main shapes first, and then we focus on the details, and we focus on the fun stuff on the sprinkles and the frosting of a cake, right? Remember the analogy that we use with this cull. We need to create something cool first, and then we can build on top. I think I'm going to merge this two. Makes sense to have a big initial horn there, and there we go. That looks good. Perfect. So yeah, I think we're in a really good position now, guys. I'm going to do fur. I want to do a little bit of fur, like a little bit of hair here, like a mohawk or something, like a sculpted mohawk, of course, maybe a little bit of a chin hair, and then we're going to jump onto details. We're really, really close to finishing this project. So make sure to keep on working on this. Make sure to get all the way to this point. Remember that you don't need to follow this one exactly as it is. You can create your own minotaur. I'll see you back on the next one, guys. Bye bye. 14. Sculpting Fur: Hey, guys, welcome back to the next part of our series. Today. We're going to continue with the minotaur and we're going to jump into some fur. Let's add a little bit of extra fun factor to this guy. I'm going to jump right into this guy, and we're going to start with a little bit of a goat go t or something like that. I'm going to go here into Septols and we're going to append a new sphere. There we go. We, of course, are going to position this new sphere. At the chin, which is where this thing is going to be starting, right? So right about there, I would say. Now, I'm going to use my Mo brush, MV, of course, and I'm going to use symmetry, of course, to just keep a rough shape to the goat. And now, I'm going to introduce you guys to another thing that we have here instead of Sebh which is called sculpts P. Sculpts used to be this software that Pixolgic deployed as well or was giving away. It was actually free, I believe, a long time ago. And the sculptures was pretty much like dynamic. Like, it's a precursor to dynamise. So the way sculptures works is very, very simple. First of all, I need to turn a dyname. Like this here has to be set in dynamise moth. And once this thing is set to dynamise moth, we can go here, and we should be able although I'm not sure why this is not active. We should be able to activate sculptors pro. That's weird. Okay, let me go B SK, which is the snake hook brush. Now you can see that snake hook actually allows me to work with sculptures promove and here's what it does. Usually, when we're working with, like, a move brush, right? And we grab this thing and we move it, we're just moving the polygons, right? We're just like transforming the position of the polygons into whatever we're looking for. However, when we're using certain kinds of brushes like the snake hook, B SK, you can see that the brush turns purple. And what happens is, once I start dragging this out, see how we're creating in real time more geometry, That's really, really, really handy because it takes into consideration the size of the brush, and it will add polygons in real time. So you can see how it's converting and adding more stuff as we move the stings around. And we can also actually do it with, like, clay buildup as well. You can see Clay buildup also has a cultures mode right there. So what's going to happen here and you can check it out on the Act points. As I start adding more stuff, the active points are going to start growing, right? So it is a very, very handy way to add more geometry to your object without having to re dynamise everything. Just keep in mind that every single time that I'm adding a new stroke here, it's actually adding more and more geometry. So we started with like 2000. Now we're at 10,000, and you can imagine how this could become a little bit problematic. The great thing about Sculpt Spro is that if you were to grab, for instance, the Damian standard brush, which is a really sharp brush, and I were to go right here to really emphasize this sort of like hair strand effect over here. What's going to happen is it's actually dynamically subdividing only those areas. So it is quite optimal because it does that, but it is not as organized as a subdivision or dynamic by itself. So just be mindful about that. Right now, I'm going to turn it off. We clay dynamic here. And while still working on this asymmetrically, I'm just going to start pushing a couple of things here and there. Like let's do a little bit of a hair strand over there, and then let's do hair strand over here and another one over there. See that? So now, we're able to create this nice little go t for the character. I'm actually going to move the whole thing a little bit. So it matches the shape of the head a little bit more. Let me turn on symmetry on this size right here. Actually, let's turn on sculpt spro again, so we get a little bit more resolution, especially on the sides over here, and we can start building all of this very nice effects. Let's turn off symmetry again. And there we go. This is one of the ways in which we can sculpt fur. As you can see, it's a very dynamic way of doing it, very cool, and it gives us a nice little effect right here. So I'm going to go back to cloy builder without sculpt spro and with symmetry, just to add a little bit of extra volume there. I want to give it the sort of inflated, sort of like hair effect there. We go a little bit more stylized more cartoon. That's it. We have a nice little go t there. Now, let me show you another method that we can use to create a little bit of hair over here. And this one, we're actually going to go back if you remember to the cheetahs Cull we're going to go back to the insert multi mesh brushes. What I'm going to do is I'm going to append a new spear, and I need to append a new fear because this fear is going to be like a placeholder. Actually, what I'm going to do with this fear, I'm going to make it really, really small and get it inside the character doesn't really matter where it is, as long as it's inside and we don't see it. Now, I'm going to say B, and then let's select again, the IMM primitives like this one right here. Let's start with I think a capsule is going to work fine. I do have symmetry on there we go, and let's insert a capsule right there. What I can do, of course, is I can move this around in the very similar way in which or how we did what's the word the Oh, I forgot it. The cheat is called. Now, with my boo brush, I'm going to start softening this up and creating again like a hair strand. Let's break symmetry and move it to one side, move it to the other, smooth it out a little bit. There we go. I'm going to control D, duplicate. Rotate, scale, move it around, move it to the other side, and then duplicate, move it around. Move it a little bit like this, duplicate, move around. Let's do five, right above there. Maybe this one is a little bit smaller. Let's duplicate and let's do a couple of small strands. This are going to be useful to break up the hair a little bit. For instance, here in the front view. Actually, we forgot, let's get this one right first. It's going to be to the side like this. There we go. You can see we're doing asymmetry now, which is a little bit more tricky because we don't have as much control in the symmetry, but we'll get more dynamic sculptures that way and symmetry is really, really good for that. One a little bit to the side. Oh. There we go. There we go. So now, when we remove this, if we were to do dynamic. Of course, we lose everything. Why are we losing everything? Because remember, whenever we duplicate an object, it doesn't have any poly groups. So dynamic thinks that those objects don't exist, and they're actually going to be used to remove parts of the match. That's why you see if I do dynamic, you see that this thing is getting those sections removed, and that's not what we want. So we're going to go to polygroups. We're going to say other groups, and that's going to give a specific group for each one we can turn on groups and do dynam. So each specific, hair segment has a little bit of a mohawk effect. There we go. So now, of course, we can either increase the resolution, Let's smooth this out and dynamic. There we go. We can increase the resolution, to give it a little nicer effect, or we can jump into sub division method, whichever one you prefer. Here's again, where it's not a bad idea to go back here, go back into our insert brushes, go back into primitives, another capsule, and let's insert a couple of small ones, right? Let's do this one. Let's really push it, smooth it. And again, this little small hairs are really good to break up the surface a little bit so that the hairs not perfectly aligned all the time, right? So we're using this to break the symmetry a little bit. No need to add a lot, but just a couple of them, I think would be a good idea. Like maybe one over here. Let's do one final one. Over here. Here we go. So here that starts looking very nice, pretty cool. Again, we are groups and dynamics, so that everything has its own poly group. Now, if you want, of course, we can go here and we can start using our clay build up to add a little bit of texture to the overal hair. As we've mentioned before, the more time you spend on something, the nicer you can look. Right now, I'm going to keep it quite simple. I'm just going to do a very basic hair strand texture. Just so they're not like horns and they're more hair or bundles of hair. There we go. We can soften it up. You know, it's just a general description of the whole thing. Let's take a look at the overal shape now with hair and everything else, and it starts to look pretty cool, right? I'm going to show you another technique. I'm going to go here, and let's say we want to add a little bit of eyebrows, but we don't want to do a separate eyepiece. We can actually sculpt here using masks. So I'm going to mask out where I want my eyebrow to be. So let's say all of this area right here. And then if we invert the mass with control and tap outside of the object, whenever I use like, clay build up or snake hook or anything, I'm going to be able to create a very harsh line between the eyebrow was and where I want this thing. So let me grab my move brush. Let's sound like a couple of little spikes here and there. It's going to give a little bit more personality a little minotaur right here. There we go. And when we take it out, as you can see, it's going to look like it's actually like it's own little eyebrows, right? So masking and using multiple subtles like we just saw here, is going to be super, super important for the whole process. Now that we're working on details because we're about to jump into the texture details and the last part of the general, like, a miotar things. It's important that we add a little bit more personality to it. So why not add like an ear ring? So I'm going to go a pen. That's a pend a ring right here. And super simple, I am just going to rotate this guy around 90 degrees. Like that, make it smaller. And let's add a little earring going over here. Now, some of you might be wondering, well, could we cut like a hole so that it really looks like this thing is going through the ear? And the answer is yes, of course, we could. We would have to rebuild the dynamic and do a lot of things to get that. But it could be done. However, I propose an easier solution. Let's just simulate like there's a little hole in here by creating a little cavity where this or dispecing is going to be going, right? So we carve in a little bit. And then we add a little bit volume on top like this. And as you can see, we get this very nice effect. Now, careful here, we had symmetry turned on. So this is where we would definitely need to smooth this one out because we only want to have the earring on one of the sides. And yeah, I think it's looking pretty cool. I think I'm going to do a couple of modifications here. I'm going to move a little bit more of a snout over there. Careful here. I didn't have symmetry, so let's turn symmetry on. Okay. Just a couple of minor like form changes so that he looks a little bit more like a bull. Okay. I like it. I like this guy. He's looking cool. So yeah, there we go, guys. As you can see, we're in a very good position. We have a very simple fur. We're going to be talking more about hair later on when we take a look at a fiber mesh, which is a little bit more it's a little bit closer to traditional hair. This is more like sculpted hair. But I just wanted to show you how you could very easily block in this sort of things without that much of an issue. Another thing that we could do, Miniatures sometimes have like hairy chest and backs. So I'm actually going to go here with clay build up. Let's go and add just like an indication, like a transition. So I'm just going to use my clay build up, and I'm going to be creating this sort of like buckles or like hair strengths. It's not necessary. This is one of the things about sculpture, especially when you're doing this sort of representative sculpture, you don't need to do everything all the way to the finest detail unless it's required, of course. Sometimes just suggesting that there's certain textures and certain effects is more than enough to sell whatever you want to sell, for instance, here. If I just do this sort of thing, just having this quickly lines all over the place will make it seem like he's a hairy dude, even though I'm not sculpting each individual hair. Sometimes subtleties and simplicity can be a lot more what's the word powerful, then actually sculpting every single detail. We do that, or I can show you it's something very, very common in miniatures. I've mentioned that I play a lot of D&D. So if you take a look, for instance, at an owl bear from D&D bars are these creatures like an owl and the bear. And if you wanted to, like, really do a realistic bar, you would have to do feather by feather. However, if you take a look at the miniatures, the miniature sculptures that a lot of people do, Some of them do go like feather by feather, but others, what they do is they simplify. They they would change the way, look at this, I love this one, and they would just indicate that there's fur all along the place even though it's not like hair by hair. And that's more than enough to show how all of this looks or works, right? So, depending on the project, depending on the art style of whatever thing you're working on, sometimes you won't need to detail everything all the way to perfection. One nice little detail that I can recommend here is if you're doing this technique, when you get closer to the center, break symmetry. That's going to really, really, really bring everything together. Because people will notice when something is symmetrical, the closer it is to the mid section of the character. So if you break symmetry here at the mid section and then you turn on symmetry back again on the sides, that's fine. Because again, see how it's very obvious that there's symmetry here. But if I break the symmetry, if I start adding again some of the squiggly lines in this sense, then people won't really notice that this is symmetrical. And then the further we get away from the midpoint, like this section right here, the more difficult it is for the audience to identify that everything is done symmetrically. Look at this. Our minatar is looking very, very, very cool. He looks friendly. I like it. He looks like like a nice friendly minatur. I don't know if the horns are a little bit too big. So let me take a look. Yeah. Maybe making the horn. Slightly smaller might be a nice idea here. Just a slightly smaller. I think that looks a little bit better. I don't know. I like the big horn as well. Looks very menacing. Let's turn on symmetry. That's fine. Cool. So I'm going to stop to be right here, guys. And in the next one, we're going to talk about skin detail. We're going to be doing leathery texture. We're going to be doing all of the horn texture, maybe even a little bit of hair texture, and we're going to be ready to finish this nice chapter here about character sculpting. So, hang on tight, and I'll see you back on the next one. Bye bye. 15. Sculpting Details: Hey, guys, we'll come back to the next part of our series. We're going to continue with the details. So let's get to it. Now, this is where we left off with our very nice minatur right here. And nice time that we start working on details. Now, last time we did details with the skull, we just threw in a quick alpha over the whole thing because I just wanted to show you the basics of it. Now we're actually going to go in here and I'm going to show you the proper technique that we normally use to detail a character. So the first thing that you need to understand is that for proper detail to be shown on the model, you are going to need quite a bit of polygons. So in this case, since we're working with subdivision levels, it's very easy to go to the last subdivision level, which we are right now, should be about subdivision level four, is going to press control D two at another subdivision level. Now, we're at 3.0 34 million points. They're actually not polygons. Each one of this I think counts as two polygons. So this will be like 6 million polygons. And this will allow us to have a very, very nice effect. So let's start with the yes. There will be certain details that you won't be able to get with an Alpha, and these are the sort of details that you really want to go in here and do by yourself. So for instance, like the little nice lines around the eyes, the eye bags right here, those are the kind of things that you really want to sculpt by hand, because we're going to give your sculpture a lot of life, a lot of personality, and a very nice artistic look to the whole thing. Now, there are some alphas that you can use to help yourself in this endeavor. And the way to do urge them is the following. I'm going to press B, S and T to go into my standard brush. I'm going to change this to Dragert. I'm going to go into light box and if I go now into my alpha sections, there are a couple of alphas that come preloaded with C bush like this leather is keen 67, which is like an elephant y. So I'm going to double click right here. And double click, and this should load this on my Alpha channel right here. I'm going to press comma which will turn off the light box. And now, if I go to the other eye, which is the same one, of course, and I drag this thing here, you're going to see how we can drag all of this beautiful detail from the Alpha into our eye right there. Now, the problem is, we're right now at CAD and this looks a little bit weird. So we'll change this to CS and I'm actually going to lower the intensity a little bit. Now, when I do this, you're going to see how very easily, we can add a lot of texture to the eye without much effort. We can do the same thing on the top side like this. Nice. Now we can, of course, smooth some of the detail out if we don't want it or even everything, just like soften this up a little bit if we don't want as much. But see how easy it is to get this detail. That's the kind of detail that I like to call the tertiary detail, the micro detail, which is detail that you can get very, very quickly. So let's do a quick pass of this sort of like detail on the whole head. And for that, I'm going to again go into my light box. I'm going to select this leathery skin 15. Double click again, and I'm going to change this to spray. So now if I start going over here, you're going to see how we get this very nice leathery effect on the whole bull's head. So let's start adding this. I just adding the general like texture to it. Now, again, remember, all of this that I'm doing right here, this sort of detail, this sort of effect. This is like the sprinkles on a cake. So it doesn't matter how nice your high frequency detail looks. If you have a very horrible primary and secondary form. That's why it's very important to spend enough time working on all of the forms of your character before jumping in this stuff. As you can see, these are really fine details, which look good. I'm not going to lie. They look okay. See this thing right here. The horn is intersecting with the ear. Can we fix this? Yes, of course. I'm going to press Shift D to go all the way down to the first subdivision level, and I'm just going to move the ears forward a little bit. So they're no longer intersecting. There we go. And you press D again, jump all the way back. So as I was mentioning, the detail that we're adding here, like, the high frequency detail, it's really important because it's going to break up the shine of the skin and it's going to give you a nice little effect here. However, you don't you don't want to abuse it, and you want to make sure that the form and the character that you're doing so far looks very nice without it. If it looks nice without it, then once we add it, it's going to be even better. So I'm going to start using my demin standard now to add those kind of wrinkles that would be pretty much impossible to add with pure alpha. So again, this is where the artists hand really comes into play because we can really go in here and start adding things that would be very difficult to add with just like traditional alpha. Very, very softly, I can start adding this texture and this effects that again, would be quite difficult to do. Let me look for a little bit more reference. Let's go for face. There we go. I want to see the texture on the nose and stuff. And you can see that the texture on the nose, it's a little bit different. It's like shiny and not as leathery, more, a little bit like pores or something. So again, I'm going to go into PST standard brush, let's go into the lightbox. And I do believe we have this sort of like a bumpy skin or even this scaly skin might work. I think this leathery skin might work, actually. So I'm going to grab this one, but I'm going to change this drag erect. So that way, we can really change how we can change the texture on this area by following along the lines of the mouth and stuff. There we go. Nice. Nice, nice. I really like that. That's looking good. Now, there's a lot of alphas online. Some people share their alphas freely, so always being the lookout for those kind of offers, and there's other people that will sell their alphas, but they are quite nice alpha, and it's a good investment because if you're going to be doing a lot of certain types of characters, then you might be using a lot of certain types of alphas, and that will be, of course, very good for us. I'm going to carve in a little bit more here on the ice. So I'm going to be a little bit more aggressive on the wrinkles, always doing the criss cross technique, of course, we wouldn't want to keep it super line heavy, we always want to blend things around. There we go. See how we're adding those effects, and that's giving us a way with more like visual interest throughout the whole character. Nice. Let's take a look at some reference here. Here you go. And I'm trying to see if there's any specific thing I want to look up for. But I don't see any like I was trying to see if there's, like, pores or something. If you want to do pores, pores are also really good. Again, I'm not sure if this is going to work for this one. Let's try it. But we have this bumpy scheme right here. Double click. And we could add like some pores. I've seen more of this in, like, cats and stuff, so I'm not sure if it's going to work on this guy. But yeah, there's a lot of things you can do like. If you want to add a couple more pores here and there, I don't think it's a bad idea. Here's where again, details or specific things about the character could really come into play as well. Like, let's say he has, like, a scar on this side of the face. So I'm going to press X. I'm going to show you how to do one very nice scar. I'm going to draw the scar. With my mask because you can see here. I'm using control and just dragging across to draw this scar. And then with my clay build up, I'm going to build up a little bit of volume on this area. This is called a Kalid scar. Probably you have one of them. I have a couple of them on my knees from when I was a kid and you would like scratch your knee. And that's where the skin just like forms on top of it and you get this sort of stuff. If you want a more like a traditional cut, then the demon standard usually works fine. Like maybe you want to have like a gap over here, like something. Lips usually get this sort of crackling effect from an injury or something. So again, this is where you break symmetry and you start changing things around. Now, for the horns, we can do something similar. I'm going to go standard brush a drag t, but I'm going to change this to Alpha 60, which is going to give this sort of effect. Now, I'm going to keep this really low in intensity because I really want to have a lot of texture, right? So as you can see, since we're going to be repeating this texture quite a bit. I need to keep it low so that it doesn't feel like overwhelming. So very, very important that we do this in this way so that we get these nice little fibers that we would normally see on, on ramps and stuff. And now we turn around and we do similar technique. We're going to have to do this a couple of times. Important factors here do not change the size of your brush. Remember, when you change the size of your brush, the size of the detail is also going to change, and that's something that you don't really want because you're going to start getting like either super super big effects or super super small effects. There we go. Okay. Let's go down here, and again, see how nice this looks. Very important that we're using rag and we're dragging roughly at the same size for every single stroke. It's going to ensure that the detail is consistent, swell. So, very important that we keep it like this. Keep it keep it consistent. There we go, there we go. That's it. It's going to give us a nice little detail there on the horse. And even though we have that detail, that doesn't mean that we can't keep on sculpting. So for instance, if you really like the rich that we have over here, I can continue detailing that rich and really pushing that form. I can go here with Demin Standard again and really make sure that the rich reads as a rich, right? So, see how that starts looking a little bit more intense. And I'm not going to get tired of saying this guys, take your time, take, take your time. We make these videos in this way so that it's easy to digest and to understand the main things about the work. But me doing this in 40 or 50 minutes, doesn't mean that you will be doing that the first time around. So make sure to practice, make sure to take your time, make sure to do several of this, right? Try a cyclops, try a goblin, try an or use the same techniques that you just learned here with this nice little Uh, what's the word this nice little miature and try your hand at something more different. I'm going to use stream dynamic here to sharpen the hair lobe bit. I don't want this to look like like sausages. So I'm going to sharpen a little bit of the point in there. Just to again to add a little bit of variation to the whole thing. And that's it. This is pretty much it. We should name this guy, right? He's just missing a name and he's going to become a character in one, like, fantasy game or something. But yeah, this is pretty much it, guys. This is the end result for our very nice minatu I mean of our chapter. We're going to jump now onto Chapter number three. I sorry, Chapter four. And in Chapter four, we're going to be taking a look at something called C model, which is a completely different way of scolding. We're going to leave creatures behind for a little bit. We're going to come back to them later on. But make sure to practice, make sure to continue working on this one. One of the main mistakes that a lot of students make. I did this myself when I was a student and when I was learning from tutorials is to just watch the tutorial and not do the work. It kind of seems like you did the work because you've been seeing the whole process and your brain kind of interprets that as you doing the job, but you haven't done anything. You need to get your Wacom tablet, your tablet, or whatever, and you need to do the job, okay? Do the work, practice, get better, and then I'll see you back on the next chapter, okay? That's it for now, guys. I'll see you back on the next one. Bye bye. 16. Zmodeler Basics: Hey, guys, and welcome to the next chapter in this series. Today, we're going to be talking about C modeler. Well, let me tell you it's quite a journey. Let's go. I'm starting in new stuff. The first thing I'm actually going to do is I'm going to go to this S right here, which are the basic tools, and then I'm going to pick this PolyMesh three D star. The PolyMesh three D star is a basic object like a placeholder object. And we can actually convert this into the basic objects that we know such as, for instance, we go here and initialize. We can make this a Q Q here. We can make it a Q sphere. And we can make it a que grid, which is just a plane. So I'm going to go with the key cube right here. And what you're going to know this is we have a couple of things right here. We have x resolution, y resolution, and z resolution, which is, of course, how many divisions we have in each side. If I turn on polyframe, you're going to see that we have two divisions per side. So I'm actually going to bring this all the way down to one. I'm going to hit key cube again, and you're going to see that this is just a basic six sided cube. Now, C modeler was the answer. It is the answer that Cash has to traditional development packages like Maya or blender. Normally, in Maya or blender, you're going to be using babble, extrusions, insert edge lobes, insets and stuff like that to model stuff, right? Well, it happens or it works in a very similar fashion here instead of Crash. It now has its own tools to be able to modify edges, faces, and vertices, which are the main components that make up any sort of three D element. Now, the first thing to be able to go into C model, which as you can see, we have a little shortcut over here, is to convert this into a poly mesh three D supposedly already is, but I'd like to create this as a make poly mesh three D and now this PM three D, it's a cube that's ready to be work with. Okay? So if I were to turn this thing here, Phil, as well, so that we can see the colors, you can see that this thing has poly groups. We've briefly talked about poly groups, but they're going to be playing a super, super important role from now on, because most of the tools that we have instead of C molar will work with polygroups and well, without further your do, let's jump into C molar. It's going to press B and all the way down here, we have C molar. So I believe it's C and then the shortcut. I usually don't use the shot cut. That's why I have my little shortcut over here, just click it and go into C modeler. And the first option that you see when you drag your mouse on top of some object like this face right here is Q Mesh, which is like the basic function that C modeler has. And it says Qumesh a poly. So what Kms does, if you click and drag, it will extrude this polygon and create an extra volume, which is really handy because as you can see here, we can ember or create a very interesting shape that would be very difficult to sculpt by hand, right? This is just more like a traditional hard surface thing, and we can modify and do a lot of different things. So How do we get access to all of the tools? Simple Space bar. When you price the space bar and you're inside of the C modular brush. Instead of getting to traditional shortcuts that you get, like the size and the focal shift and all that stuff, you get all of this options. And depending on what section of an object you're selecting, where it's a face, an edge or a burdcy or a point, you will get different options. So this are all the options for faces. This are all the options for what's the word edges, and this are all the options for points. You are going to see the following three main boxes, sometimes four. The uppermost box will be all of the tools that you have to your disposal. So for instance, you can see that right now, we have the Q mesh selected. We can move, we can mask, we can insert, we can babble, we can bridge, we can delete, we can equalize, extrude, flee faces, inflators, so a lot of different things. Then as you can see here, it's the target. Like, what are we going to what object are we going to apply this action to? Is it going to be a single poly? Is it going to be all the polygons, all the quads, all the triangles, all the elements facing to the front, all the poly group, island border, et cetera, et etcetera. So this has to do with where are we applying. And after this are options regarding or the specific to each of the tools that we have right here. So we're going to do a very simple well, not simple, but we're going to do a nice little exercise here. And we're going to do a D six. This is one of the exercises that I normally teach whenever I'm teaching any sort of modeling software. A D six, you know, traditional D six die, just a normal die, could be a little bit tricky to build, right? I mean, it's very mathematically exact and stuff. So let's see how we can do it. Well, we definitely need to start with the cube. And the first thing I would like to do is I would like to bevel the edges to get a round effect on the whole thing. If we go into the edges, and I prais space bar, do we have the beble? Yes, we do. And by clicking this line right here, there you go. We can bevel the whole thing. But right now, the bevel is set to edge loop complete. So do we want to do the edge loop complete? Do we want to do the edge loop partial? Do we want to do the poly loop? Well, if if we do edge loop partial and we click and drag, we're not getting anything in this case. And if we go polyop, we should be getting there we go, that line right there. Is there a way in which we can bubble the whole object? Well, if we go into faces and we go bubble to the face, we could also bubble this thing right here, if all of the thing would be the same polygon because we're doing bubble to a single poly. But what if we do all polygons? Bubble to all polygons? Well, now, as you can see, we can babble and create this very nice round edge for the object. Now, when we beble, you can see here that we're doing a single row. If we do two rows, we're getting two rows like this. So there's an extra division over there. And if we do two rows, but we do soft ditch, we can do a nicer effect right here. Actually, I didn't seem to change that much over there. Let's try this. Let's keep it like this. Who, a little bit less like that. There we go. So now, what I'm going to show you guys is something called dynamic subdivision. We already took a look at subdivision when we were looking at a geometry up here with this one, but we don't want to divide just yet. We just want to have a preview. Again, very similar to what you would have in Maya when you press number three or in Blender, when you use a smooth modifier. And the way to activate dynamic self division is to just to activate this little guy right here. So if we activate dynamic self division, We're going to get this overview of how the little die is going to look when we were to divide this thing. You can also turn this on and off with the letter d in your keyboard. I'm going to say always, yes. So every time I press D, I think it's D and control D. No, not control D. Shift D. It's D and Shift D. D to activate dynamic subdivision and shift D to deactivate it. And we're going to be able to see the effect. Now, we already have this. Let's turn on this thing again to see what we're doing. And now we want to add, of course, the little holes on inside of our die, right? So we need to divide the element right here to be able to select all of the different phases that we need. So what I'm going to do is I'm going to press space bar in the edge mode, and I'm going to say insert. And what insert will do, as you can see, it will insert one edge loop. But I don't want to insert and have to estimate where this is going to be. So I'm going to press space bar, and I'm going to say multiple edge loops, and I want. If I do this right now, it's going to do only one. But if we go down here, we can change. I'm going to do specified resolution, and we're going to do two. Well, if I do two, it would immediately divide this into two specific sites. So I'm going to do two there, two there. And two there. Now, as you can see, as we start adding stuff and changing things around, the poly groups are changing. And as I've mentioned before, poly groups are going to be super, super important because they're going to allow us to organize things in different ways. So it's very important for me to teach you now how to modify or change, clean up the poly groups that we have. And we already have one. We can do audi groups, which in this case, since this is a single object, everything in this area will become a single poly group. If you have a specific section of the object selected like this guys right here, and I do a group visible, for instance, only that area is going to be its own poly group, and we're going to be able to do and change things around. We could even do this middle section right here. Oh, Let's do like this, and we can do group visible. And now, if I want to do a Q mesh, for instance, I can do Q mesh and say polygrop, and now all of this polygroups going to be Q meshed out, and we can extrude the whole thing out. So there's a lot of things that we're going to be able to do with polygrops. Right now, what I want to do is I want to select only the faces that are going to have the little numbers because I want to modify those faces. So I'm going to go into phase, and I'm going to select the option which is polygroup. What do I want to poly group, a single poly. So let's say one, two, three, four and five. So as you can see, now we have the number five selected here, and each little dot that will eventually be a number is being selected in the proper way. Okay? Now, if I want to have a different poly group, I would click and without dropping my click, I would press out. And this will cycle through different colors of poly groups, and they will create a different poly group. In this case, I don't want to do that. I actually want to keep the same poly group as what I did right here. So let's do it again, one, two, three, four, four, five, and then on the other side, we're going to have one and two. On the top side, let's have one, two, three, four, five, six, back here, we're going to have one. Over here, we're going to have one, two, three, and four, and over here, one, two, and three. So it's kind of like selecting all of the phases because we're painting a specific poly group that's going to allow us to select them easily. But it's pretty much like we just selected them in other software, again, like My pleasure. So let's go into Poly phase now. And what I want to do is I want to create an inset, so there's this inset option. And if I insert a single poly group, yeah, that works. As you can see, that's what I want to create. I want to create a little loop right here, but I want to do it on every single phase. So I'm going to change the target from a single poly to poly group all. So every single phase that shares this poly group will be affected by this inst, as you can see right here. The only problem is, as you can see, up here, the number six is inserting the whole poly group as a single poly group, and I don't want that. I would like to have them a separate number. What we can do here is we can do center only. So now, when we do this, or sorry, that's not center only. It's inst each poly. There we go. So now each poly will be insided as a different effect, and they will get a new poly group as well. So it's going to be very easy to select those new lines to generate or create other things, right? So in this case, what's the next thing that I want to do? Of course, I want to take all of those poly groups and I want to push them in to create a little hole for the dice. So I'm going to press a space bar, go into Q mesh, select this guy, and push it in like this. Now, if I press the letter D, look at this. Our die is pretty much looking like a normal die, like what we would expect to get from a traditional modeling element. And this actually has proper topology, like proper soft division topology. You could take this into Maya blender or any other software and use it as is because we've been building this in a traditional like poly modeling or box modeling process in effect. Okay? So this is the basics of poly modeling, my friends. This is the basics of C modeler. And it's very important for me that you guys finish this little exercise right here. I know this was a relatively short video. It's just the basics of the whole thing because now we're going to be using these tools to build a prop. And people don't usually think. I mean, nowadays, yes, but a couple of years ago, it was a little different. People didn't usually think about CRs as a prop modeling software where you could do like weapons and guns and stuff. But now it's with as many tools that we have inside of Serge. It's very easy to create the very cool things inside of this software. So make sure to finish this little di right here. It should look something like this. You can even go into the geometry and in the subdivision. You can increase the subdivision smoothness here from level two to, like, let's say, level four, it's going to be super super tight. But yeah, this should be the end result for this first lesson. In the next lessons or in this chapter, we're going to be working with an X. We're going to be doing a very nice cool like model X, and then we're going to detail it with the Savers tools that we have at our disposal. So make sure to get all the way to this point, and I'll see you back on the next one. Bye bye. 17. Axe Base Shapes: Hey, guys, welcome back to the next part of our series. Today, we're going to continue or actually, we're going to start with one new project, which is the X. Now, we're going to be using C model, of course. And in order to do that, I am going to go again into this little S shape, which is like a menu for the basic tools instead of severs. These are 2.5 D brushes, by the way. This is another whole section about sus that we don't really use anymore. It used to be like this sort of like painting package, but a lot of stuff still in here. So I'm going to select this polys three D as we did before. Turn off lightbox. We're going to go all the way down to initialize, change this to one, one, and one, so that we only have one side, QQ. Drag one at t to go into edit mode, to go into wro mode, and to be able to edit the little object. And then I'm going to make polymescthre. I usually like to clone this by making it a polymestht so that the original one is still here, in case we need to change it to something else, we can do so as well. So yeah, we're going to jump on this guy, and there we go. One of the things that we normally do in traditional modeling packages such as Blender or Maya is we utilize something called image planes, right? And it's just a plane, and you project an image into this plane and you use it to kind of like trace the silhouette of the object and make sure you're doing everything perfectly. Well, we're going to do something like that right here. I'm going to append a new element, and in this case, it's going to be a plane three D. And the plane three is right there. As you can see, we're not seeing the other side of the plane. This is called the normals. So the plane is facing a one specific side, and that's the side that we see when we look through the camera. If we want to see both sides, it's very important that we go down here to display properties and activate this thing called double. Okay? So that's going to allow me to actually, of course, we need to select the plane and hit double on the plane. That way, we're going to be able to see the plane on both sides. Now, I want to rotate this plane. I'm going to press the letter, and I'm going to rotate it while pressing shift so so that it's 90 degrees, and this plane is pretty much a side view, right of the plane right here. I'm actually going to push this plane back because it's going to be like my side view of the element. And you guys already have an image inside of your folder. So if you go into your folders here, I'm going to go texture, click this little guy right here and go import, and we're going to jump all the way to our project files. And I think I made a mistake. Mike placed it in Chapter three, but the sextu going to be in Chapter four, so it's this one right here. I'm going to hit open. So what's going to happen now, as you can see, is we have this texture right here. And the only thing I want to do is I want to load that texture onto this plane. To do that, you select the plane, you go into texture map, you select this guy right here, and you click the image. And boom, we have it right there. Now, there's a couple of problems, of course. First of all, it's a little bit distorted. So ideally you would like your image to be completely square, so you can drag it into any sort of image processing software like photoshop crater or whatever, and make sure that it's a square image instead of a rectangular one. And it's not oriented properly. Now, that's going to be very easily fixed because this plane, remember, it's an object. So we're applying this texture to an object, so we can press, rotate this 90 degrees and then even scale it up so that we match exactly like the proportions that we want. So something like that, I think looks okay. And there we go. So now we have an image plane instead of sage that we can use to model and create things as close as possible to Tacy right there. So this is just one way to do image plans. There's a couple of other ways. Personally, and in my, like, traditional workflow, I don't use image plans as much. I was kind of like trained and recommended to me by other sculptures to work with, like, a reference, like what we did with PureRef and just like project that in your mind, right? Like without having to look at it directly. But if you are one of those guys like to have image plans, this is a great, great way to do it. Let's focus on the main shapes right here first. So as you can see, we have this very nice metal head that we want to use. I'm going to grab this cube. And first of all, well, let's move it and scale it. So that we start back here, where this main thing starts. And what I can do, of course, is, this is one of the issues with image blanks, we're not going to be able to rotate even if you're clicking outside of the object because we're clicking on another geometry. So if that happens, you can click on anywhere on the outside of the box right here, and that should work just fine. Actually, let me go here. Actually. There we go. So that's it. So if you click on the outside of your screen or beyond this little white border, that should allow you to do it. Like if I go here, I'm going to be able to do it. That's like the safe. So I'm going to turn on C modeler, so like my brush, turn on polyframe and I know that I want to queue mesh this thing, so I'm just going to quemeh it. How far we that's going to depend, but roughly about there sounds good. We can go here. There we go. Now, if we overshoot, which is very common, very easy way to do this is just control drag to mask those points. Control click to invert those points and then move them like this. Because right now, the only thing that's not mask is that little face right there, so we can just move this thing so that we match that place right there. Perfect. I'm going to turn this transparency on. Actually, I'm not sure if we can do that right now. I'm actually going to move this all the way down to about there and go about there. There we go. Then we can get rid of the mass, me again. Let's just a small mesh. There we go. So we're going to do a couple of mesh or as I like to do another little technique here, we're going to um like this real far pretty similar to what we did before. And then we're just going to let's move this spot point here, move this thing back, which is right about there. And then we can go into edge and we can insert edge loops. Let's do one. Two, and three. There we go. Now, we do have symmetry or we should have symmetry selected. So technically, we could go to B and V, which is our both brush and just move these points up and down and whatever we want, which is fine. However, if we want to keep things like super clean, I strongly recommend you stick to the site like this. So I'm going to start moving these points around. To really match. Right now, since we only have two points should be fairly easy to do, should be fairly easy to follow. As you can see, we're not moving anything on the perspective, so that's perfect. Let's go here, and here we're going to create this little points right here. Let's move this one over here. There we go, this one, probably a little bit lower. There we go. Now, here we have a couple of decisions to make. We can continue the edh nicely going down here, which is technically what we should do, or just extrude this down and finish the x. I'm going to show you the proper way to do it because this is the proper way to poly model things. So I'm actually going to move this point all the way down here and I'm going to move this point all the way down here as well. Come on, there we go here, to create a sort of curvature. And I'm sure going to move this point over here because we're going to be filling in all of these other parts very, very soon. There we go. So let's move this down and down. So that creates this thing creates something called a poly loop, okay? Because this thing is flowing in the direction of the curvature of this x. And that will be really, really, really handy once we had support edges. Remember what we did with the dice to make sure that the edges were holding nicely. That's really, really important here. So let's go back to this view. I'm going to go back to C modeler and let's mesh this guy over here to create the lower piece. Now, here, as you can see, that's a 90 degree angle. That's very sharp. So it is okay for me to break what we were just doing the poly loop right about there. I'm actually going to move this thing or create the draw size all the way down to like a small size so that we don't mess it up there we go. Now, from this phase, this phase right here and this phase right here, we are going to create the rest of the x. So I'm going to go again in C modeler, which by default has MH selected, I'm going to push this one forward like this. I'm actually going to do the same thing with this one. One of the cool things about, as you can see, is it actually snaps to the next one. So we can very easily create this connection. Let's go back to VMB, which is my brush. Oh, let's go intensity. There, there there. The careful with this one, we want to keep like this thing going right there. As you can see, we're building the profile of the x. If this seems too easy or too complicated, it's normal. This is more like traditional polymoly actually, if you guys have experience with polymelin in other software such as planter or Maya, you might think there are faster and easier ways to do this in other software, and the answer is yes, they are. However, this is the option. If you've never used any of the other softwares before, this is a great great option that you can use to generate this sort of thing. I'm going to do the same thing here. I'm going to me this poly up. And this polyp. See how it snaps to the target point and it's a little bit easier to create the general thing. As you can see, everything still has the same thickness, so that's really handy for me. So let's go V again, and we're going to move this guys down here to help connect the general shape. And this one goes right there. Perfect. So that's the general shape of my x. Now the next step is to give this x a little bit more of traditional x feeling, right? Because right now it's just like a big block. So at this point, since we don't have a front view, I am going to turn off the image plane, and I'm going to be working with this general shape right here. One of the things that I want to add is a line going through the middle. So I'm going to go here. I'm going to say insert and I'm going to say single loop, and I'm just going to actually, I think we can do Shift click Shift Nope. I'm going to do multiple selves, and I'm going to do just one resolution. That way, I know it's exactly in the middle like that. Now, on this side over here, this is where if we turn this on again, all of this paces like this six phases, that's where the element is going to be, right? Le the wood elements. So what I'm going to do is I'm going to grab not Mish. I'm going to go into move. This will allow me to move this thing out like this to generate a little bit of an element there. I'm actually going to go and move this edge back a little bit. I just want to create this sort of like a round effect on both sides. So let's Let's push this out, which I know, by the way, that when I press d, which is dynamic sub division. Remember, we're going to get a smooth version of this. There we go. Now, I want to select this six phases, and I want to create something called an inset. I'm going to go into mesh poly group. Click, click click so that they're all the same poly group, click click click, all of the same poly group, and then I can go into phase again, and there's this inset tool, which is really handy, and I'm going to say inset poly group. And when I do that, as you can see, it will create an inset. On both sides, which is super super handy However, it's creating some weird like triangles and stuff. You can change the inset to inset like standard, like standard a little bit more. There we go. And as you can see, this is going to create the border from where we're going to be creating, of course, our wooden block. So probably about there. There we go. Now, I'm going to duplicate this guy because we're going to be using it later. Let's go back to this one because we have this guys right here are really, really handy because we could create the wood shape, like the round wood shape from those elements right there. In this case, though, I actually need to remove this thing. So I'm going to go again into Q mesh, and if I mesh this poly and bring it or mesh the poly group all and bring it down, once it meets with the other one, sometimes you do get the Sometimes it collapses. Like right now, it's not doing it, but sometimes when you try doing this sort of thing, it kind of deletes it. This case, it's not doing it, so we're going to have to do it in another way. And the way we're doing it, it's very easy. I'm going to go instead of Mesh, let's go delete, and we're going to delete poly group, boom. So it's empty now. And we're going to go into the edges, and we're going to say bridge, and we're going to bridge two holes. So this hole and this hole. And as you can see, we've now created a nice bridge between both of them, and if I press d, which is dynamic self vision, this looks a lot more like the x that we're going for. We're still missing our support edges and everything, but at least the shape is it's getting there. Now, to give this a nicer, sharper effect, of course, we need to push this guys closer, right? So I'm going to go to border here. So let's go to move. And we're going to move this guys closer together. Read as close together as we can. Then this guys. Then for instance, Bert, we're going to have to go into Vertex mode, which is again, move, and we're going to move them there. Very important that we check several angles. Let's make the brush smaller. Not that small. There you go. These are going to allow me to create let's turn this off for a second. This should allow me to create the sharpness that we want. Now, since there are a lot of lines, actually, let's push this guy out. That's like that, very sharp part of the axe, let's push this little thing out. There we go. So now that those are together, when we press letter D, you're going to see that the ax holds an edge a lot lot better, right? And here's where the support edges are going to come into place because we're going to be using some insert edge loops to to give this guy even more sharpness. So I'm going to go again to see modeler, and then let's go into edge, and we're going to say insert single edge loop so that we place them exactly where we want. And we're going to have one on top. One on the bottom. By the way, you can do this while dynamics of the vision is active so that you can see what's happening. So this one's really pushing the edge right there. So I'm actually going to go right there and see how nice and sharp that looks. We're going to sharpen it even more. I'm actually going to make this sort of like a raggedy old ax, but this is something that we can do here for now. There we go. I'm probably going to add one on the inside here. And one down here. You can see how the points move together and get sharper. There we go. That's it. That's working pretty nice. Again, remember, at any point, you can grab your traditional brushes such as the move brush, and I can see that the x is really, really thick. So let's start pushing this guys and In this dynamic subdivision, we can start pushing things closer together. So it reflects a little bit more what we would expect from a real x. And look at that. Quite nice, right? I think we're still missing one. I'm going to go back into S modeler, and let's insert one simular down here. There we go. See how nice that one looks. It's going to give us this very nice sharp line over there. And there we go. We have the body of our x. If we compare it to our concept, we're pretty much there. It's looking really, really nice. We're following the proper shape. And again, we didn't have to go into Blender or My or anything. We can do everything inside of Sivers as long as you know how to use the tools. So I'm going to stop the video right here, guys, and in the next one, we're going to be doing the handle, which is quite simple, to be honest. Remember, we did a little bit of a trick here to save this one right here. So we're going to be doing the handle, and then we're going to be detailing and adding a lot of this cool things that we have over here. So yeah, hang on tight, and I'll see you back on the next one. Bye bye. 18. Axe Handle: Hey, guys, welcome back to an next part of our series. They we're going to continue with the x handle, so let's get to it. This is where we left off. And if you remember, in the last video, we did a little bit of a trick here. We duplicated the head of the x when we were doing this step to save this right here, right? Like that polygon right there matches perfectly with what we have right here. So I know that if I can save this one and just convert this little six sided polygon into a whole handle, I'm going to be able to create something very, very cool. So what I'm going to do is I'm going to actually going to press control shift and click on that poly group. And as you can see, everything else gets hidden. And then I'm just going to say delete hidden, just like that. And then control shift click on this one, and again, delete hidden. So now only these two guys are remain, and we need to connect them. So we're going to go to see modeler. We're going to go to Edge, and we can say bridge. Now, in this case, we can't bridge two holes because there are no holes. These are polygons. I'm going to say edges. We're going to go from here to here. From here, Well, again, from here from here to here and there from here to there from there to there. And from there. To there. There we go. Perfect. So now we've pretty much saved the handle of the x, which should match closely with this one. Now, I'm seeing, I'm immediately seeing here that we're actually a little bit too far away from the actual wood. So I'm going to grab my move brush and I'm going to move this, make sure that symmetry is turned on. Actually, I'm just going to push this whole thing. We need to be very careful whenever we're doing the movements because as you can see the middle section stays and that might not be something that you want. This case is not that much of a deal. Let's push this thing a little bit closer. There we go. That's way way better. That quite matches our scene and over here, there we go. Now, I'm going to go again into our model, grab this guy right here, spacebar we're going to hit Q, and we're going to drag this up. Now, as you can see, we're doing poly group A. I'm going to do poly group island. So only the top island right now is going to be affected so that we get the proper extrusion. Now, of course, if I were to check the metal bit over here, we're going to see that it does it no longer matches the whole thing, which is fine because we can just jump on this one, like show both of them, and with Mo brush, just like push this around so that it closely holds the area that we want. So no big deal right. And even then, one thing that I would do is instead of pushing like this outer part, we're going to push this inner part. So we keep the outer part out and we just keep this one or start pushing the inner side a little bit closer to where this thing is going to be. So I still don't know how far that one is going to go so there we go. Give me just 1 second, guys because I totally forgot about this cnect There we go. So that you guys can see the the little things. So now, I think I'm actually going to change something real quick, guys. I'm going to disable the old keys and that stuff. Give me just 1 second. No, I couldn't find the button. So I'm going to have to take a deep type after we're done with this one. So yeah, should I disable this because I think they're a little bit distracting. I'm going to keep just focus on them, and then I'll change them once I'm done with this one, guys. So I'm going to grab this guy now. Again, Q me right here is a modeler, and we're going to mesh this island down. Now I'm going to go V, which is the shortcut, of course, and we're going to push these guys, see how we have that nice little effect. Now, there's a little bit of a ridge there, and you could model and sculpt that bridge here, try and make sure that it matches and you get a sharp edge. I think that's one of the things that sculpting gets a little bit of a better advantage than traditional modeling. So I'm not going to be trying to make the topology flow because it's such a simple thing that we can just sculpt adding a little bit of trim dynamic and it look a little bit more organic than if we model it. Sometimes when you model things, they tend to look like quite perfect, and that might not be something that you want. So now, again, Simlar and I'm going to go really, really high. Now, another thing we can do is we can just grab this thing. Control shift click on that guy. Let's dynamic solo this. Control hide all of this so that we only see that face. Mask it Control click to show everything. Control click again to invert the mask. Now, I could just press double and move this all the way to the bottom, all the way. There. Then we still have the mask. It's going to be very easy to match the general shape of the Of the lower like handle. There we go. And this is one of the techniques that a lot of my modeling teachers taught us, which is try to make the big shapes first and then adjust the simple shapes. Because otherwise, it takes too long. So I'm going to insert edge loops, and we're going to insert there. Let's get rid of the mass. It's going to be like one there, one there, one there there, one there, one there, and one there. Perfect. So now we go MV, again, to go into the move brush, and here's where we're going to be where we're going to start like moving things around, right? Until we find the proper number, you can press d to get an idea of how this whole thing is going to look. I can see that the x becomes quite slim on certain areas. Okay. Shift D. Let's go back because I know that if my low poly looks good, like if my construction over here looks nice, then everything else is also going to look nice. There we go. As close as possible to the border. We can smooth things out later by the way. So that's why I'm not too worried about the topology being perfectly perfect. There we go. I like that one. That's it. So now we press the letter D. You can see that we have this very, very nice handle. And that's the handle that we're going to be using to sculpt all of the details that we have here on the actual handle itself. So on this guy right here, as you can see, we're missing that little like sharp line, and that's one of those things that we can definitely add with C model. So I'm going to go here with C modeler and add another edge right there. And as you can see, that's going to give me a sharper line. And if we go into Poly group, group, again, we go B and B. Since we have like an extra element right there, I should be able to really, really, like, get that nice sharp line, which, again, we're going to be able to soften and train and get this like wood effect once we go into the sculpting section. So up here, I can see that the X kind of like fans out a little bit. Okay. All right, so that it goes over the metal. Even if there's a little bit of overlap, I think that's fine. And yeah, I mean, that's looking good. I think I'm tempted to add another edge lope like a support edge loop down here. Let's turn out polyhm again. There we go. So it's a little bit sharper. I think that one looks fine. Another thing that we needed to fix, remember, was dt right here where they have a big big hole. So again, we go into shift. Okay. V. And very, very slowly, we can move this. Birds is in press D again. And don't be afraid to modify things, so they match and closely resemble the concept. It's very important that you try not to leave like big holes on your meshes because those big holes can later become like a problem, especially if you're never going to disassemble these acts, like if the heads never going to be going or go flying anywhere. Having this is perfect because from here, we can do the high poly, and then we can do this for games, and we're going to be good to go. So let's jump into the handle here. We actually don't need this image play anymore. I'm going to turn it off, and I'm actually going to open the image on my other screen to get a little bit of a look at it. And we're going to be using subdivision methods. I think we don't really need to jump into dynamise because this is such a clean effect. So I'm just going to say control D. Well, actually, I need to go into geometry. I need to go into dynamic subdivision, and I need to apply this dynamic sub division. So now, this guy, as you can see, has three division levels. Very similar to how we worked with a miniature. And from here, I'm just going to say Control D, Control D, and one more control the $135,000. That's perfect. So from here, we can actually start using, for instance, our tram dynamic, and we can start like chiseling out a little bit of the effect, as you can see here. We can actually smooth things out. And start giving this thing like this like old rotten wood effect, okay? So yeah, this is pretty much for the construction. I know this was a little bit of a short d but I don't want to what's the word combine a lot of the topics. So this was just the creation of the base. In the next one, we're going to be starting with the details. There's a lot of details that we need to do. So hang on tight, and I'll see you back on the next one. Bye bye. 19. Axe Sculpt: Hey, guys, welcome back to the next part of our series. We're going to continue with the sculpt. Now that we've done the basic shapes, we can jump into the traditional severs workflow and actually start sculpting. So we're going to start with the handle actually one not handle ahead of the at. And we're going to do a very similar process. So give me just 1 second. There we go. So what we're going to do is we apply the sub division level, so now we're in sub division mode, and we're going to press Control D a couple of times. And now I'm going to use one of my favorite brushes for this kind of job, which is the tram dynamic, which will allow me to give you this sort of, like, damage raggedy look, especially here on the on the edge. You've probably seen damage axis and swords where they have like chip edges and stuff. This is where the tram dynamic really, really comes into play because as you can see, we can get this very nice detail. Now, don't worry too much about the shininess of the thing. That's more about textures and materials. But we can help, as you can see here with the scope. Now, just very, very mindful of those sort of, like, really intense changes in sileat you want to keep them soft. You don't really want to damage the scope too much. I'm actually going to give you a couple more subdivision levels. We're almost at 1 million policans now, which is going to give you this very, very nice effect. I'm going to use a little b dynamic here again to kind of get the edge done. There we go. Now, usually the obvious, I'm not going to break symmetry here and I'm going to start adding a couple of extra extra little details here. It seems like my pressure is not working as nicely as it should. But usually, the details are not going to be everywhere. You're going to get more damage on the areas that are more exposed. This is a rule of thumb that I teach quite a bit to my students in my texturing classes because they tend to add damage everywhere on this inside part and you're usually not going to get that sort of detail there. Because it's not an area that's going to be damaged as much. It's as simple as that. So so be very mindful where you place your detail now. As you can see here, we also get this very nice gngy texture in the overall thing. So I'm going to grab my standard brush. So B ST changes to spray, and I'm going to grab a grange map, something like super intense, but like Alpha eight I think it is going to be good. And again, without symmetry, probably C seven in a small intensity. We're going to start adding a little bit of that, sort of like damage look to the whole thing. Let's go a little bit more intense in certain areas. There we go. Now I'm going to show you one of my favorite brushes for hard surface things like this, which is called the malet brush. It's inside the light box. It's actually not on the main brushes. You're going to go into brush, and then you're going to go into the mall brush, this one right here, and you're going to click this Malt fast. And this one is really, really nice. I'm actually going to turn on symmetry now because we're going to be using this to generate the difference on the edge here. Very, very softly. I'm actually going to let me go back here and let's lower the intensity to like a 20. So as you can see, we're kind of like carving in the edge begins and where the main body of the iron or the steel begins. As you can see, it's really, really, really cool. If you want to go super super damage, this one is really cool. And if you change the alpha to a round alpha, it's going to look a little bit more like like a hammer metal. I actually like to change this to spray as well sometimes. But you can see it's a little bit too intense. You definitely want to bring this down, and it's going to give you this very, very nice transition going into this sort of like hammered effect. So really, really cool. And you can combine this, of course, with your trim dynamic to flatten like the edge here. So the transition is a little bit cleaner between the two. But look at how nice this x looks now. Pretty cool, right? Let's take a look at reference again, and you can see that's the kind of stuff that we're going for. I am going to bring this one back, so it's going to be right here. And I'm actually going to change this to CAD and make this really small that a little bit of noise everywhere on this area it's just a little bit of noise. And then, again, with trim dynamic, we're going to bring this down. Like this. It's kind of like erasing, but it's not just erasing. It's like flattening. We'll still get some of the texture in the in the elements, which make it look pretty pretty cool. So yeah, there we go. That's the detail for the element. Now, let's go here to the handle. And the first thing I want to do is that nice thing. So that's what we're doing. So I'm going to grab my trim dynamic, and I'm going to start trimming. Let's turn on symmetry, of course. There we go. And we're going to start trimming. Actually, there's another brush which is called the polish, it's BP and it's the polish brush. And this one is really strong as well. I'm going to increase the intensity. And this one is really good as well because it polishes and it's not as aggressive as a trim. We can actually use a demin stand really, really softly. Yeah, it seems like my pant pressure is not working. Give me just 1 second. Let me see if by reconnecting, we get it to work now. I think I'm going to have to restart Seers, but that's fine. I'm going to do that real quick. Just a quick jump for you guys. Yeah, so my driver is not working, guys, and I really like how this one turned out, so I want to keep this file. That's why this v is super super short. But don't worry. I'm going to just restart it, and we'll be right back. So I'll see you back on the next one. 20. Axe Handle Sculpt: There we go. We're back guys for the next part of this series. So let's continue. Let's just jump into the wooden handle, which is what we're doing. Always make sure to get your drivers up to date. Sometimes there are updates and you kind of miss them, and then things like this happen. So I'm using my clay build up brush here to build up this sort of like a rage that we have on the back first to create that like the volume change that's going to give me that sort of effect. And then now with my trim dynamic, see how nicely this flows. It was giving me some very weird jaggedy lines before. But now, as you can see, we can very cleanly create this sort of effect. Now, for those of you guys that have a little bit of experience in traditional modeling like in Maya and stuff, remember, we still have our low poly. So at any point, we can bring this low poly and this high poly into a software like substance painter or Maya or marmoset and bake in all of the textures and create a very nice effect. So let's flatten that thing out. Okay. I think I'm going to use again as I mentioned, the diminutandar to to create or make that rich a little bit nicer. I don't want this to be super superintense, but I do want to have a bit of an indication that there's that sort of branding. Now, up here, I'm going to stylize. This just a tiny bit. I'm just going to add a little bit of riches here on the top of the wood grain poking a little bit through the axe. Then of course, we're going to soften it up. This is mainly to just add a little bit of silhouette change to the whole thing. Now, if you want to, you could of course use your demini standard and create the sort of like cap that we sometimes see wooden stuff, right? So I'm just going to indicate it, and then again with chim dynamic, fade it out. So it gives the idea that there's something there. Usually, that is taking care inside of the what's the word the texture department or in the texturing face. Let's add a little bit of damage here on the wood as well.'s a couple of hits and stuff. I'm actually going to break symmetry, and again, add a couple of like big bumps chiseled out. Imagine this thing falls into the ground or in the woods or something and it hits a rock. Probably going to get some damage. We're going to be talking about something called layers in the next video, which is going to allow us to create something really cool. So first, we need to get a nice, nice sculpt. There we go. Now, if we check the original concept, let me open it real quick here. If we check the original concept, right here. You can see that we have this logo, Grants Fork, Brook Sweden, and then we have this hole right here. So, how could we make this hole? Because it actually goes through the object. Well, we're going to have a very, very brief introduction into something called live Boulans, okay? And light boons are one thing that we're going to be taking a closer look once we get into hard surface things. I don't remember if it was next chapter or that chapter after that one. But light Bullions will allow us to create a hole on this one. So what I'm going to do is I'm actually going to clone this handle. So I'm going to go here and hit clone, and this is going to create a new tool with only the handle, only the selected subtle so that we can work a little bit more freely. I'm going to turn off perspective. I'm going to go into subtle. I'm going to say a pen, and we're going to a pen a cylinder. And then we're going to use the cylinder as a bulon. A bullion is a mathematical operation that we're going to use, and this will cut through our objects. So is going to live right about there. Let's make it a little bit smaller and push it out. There we go. And now, the only thing I need to do is I need to turn on light bullions up here. And on the options right here, you're going to see that we have addition, subtraction, and intersection. I'm going to change the cylinder option to substraction. So now, boom. The little hole is being cut through our object. Now, we can see here again, on the reference that there's a little bit of a babble or some sort of like inset over there. So the only thing I need to do here is I am going to a pen now like I probably go to go for like a sphere. Let's grab the sphere, make it smaller, and we're going to position this right about there. We're also going to subtract, and that was just a matter of creating the proper depth and everything. So let's push this out, and there we go. That's this one, like what we did with the ice, we're going to go see plug in. Subtle master, and we're going to mirror to the other side. Again, we're going to be talking about live voulons a little bit more in depth later on, but I just want to show you the power of them because we can very easily create these things. The only issue is that we're now going to lose the subdivisions, okay? So we won't be able to go back to subdivision levels. We're going to go into dynamise, okay? Which is fine. We can always jump back and reconstruct and rebuild. But for now, since we're only focusing on the high poly, it should be fine. So to make this permanent, because right now there's still three separate subtles and we want them to be completely permanent, I'm going to go down here to where it says Boolean, and I'm going to say make Boulan mesh. And what's going to happen as you can see is we're going to have this handle that now pretty much triangulates those areas. You can see how it triangulates those areas and creates this very nice shape. We're going to go back to original x. We're going to delete this handle. We don't need it anymore, and we can abandon or you can keep it. If you want to keep the original geometry, you can also keep it. But there you go. So you can see, we're pretty much dead on a little bit off site. So let's grab this guy, turn on symmetry. Let's turn on again, the image plane. And we can just move this thing to where it's supposed to be careful there. Let's mask this out, for instance, and just move the bottom part so that the little hole does not move. There we go. Now, for the actual logo, and that's why I want to keep this video, one of the cool things about keeping this video a separate file, it's going to be a little bit easier. For the logo, I want to do something weird, right? So let's look or I want to show you how to create an Alpha so that we can create a nice little logo there. So let's look for x brands. There must be some sort of brand, right out there. So, there we go. We actually found the one. Perfect. So I'm going to be opening photo shop because one of the things and we saw this with the image file is you really want to have the square image. Now, we could grab this one right here, but as you can see, it's really, really small. It's only 200 by 200 pixels. So you want to find the biggest biggest one. This one is actually pretty damn good. So I'm going to save this image. You're actually going to have this one on your project files as well. So there we go. It's a PNG file. In case you don't have photoshop, don't worry. I'm going to give you the Alpha as well, and we're just going to open this right here. I'm going to press control here inside of photoshop and I'm going to create you can see that this one is let's go 1,500. The only thing you need to be worried about is that this thing is square. So as long as it's square, you're going to be fine. And we're going to drag this into this place. There we go. That's actually a perfect size. And we're going to feel the background with black. So we're going to save this now. You can see if this is JP or anything. JP of course is not the highest quality, but it will do the job right now. And we're going to save this. Again, you're going to find this in your project files in Chapter four. It's going to be called X Logo. There we go. Let's go maximum quality, and now we jump into Cipr again. And what I'm going to do is I'm going to go into Standard brush. I'm going to select a drag ect. And in the alpha, I'm going to import the alpha. So you got to import it, and now you can see it s loaded. So now if I were to just do this, you can see that they're pretty much projecting the element. The only problem is that since we have symmetry turned on, and we don't have backface masking and is doing that on both sides, which is fine. But I don't want to do this. I'm actually going to go control to go into my mask brush. I'm going to change this to drag rect, and I'm going to select the exact same logo. And what I can do is I can actually, place our logo right there. See? It's going to be it's not going to be like symmetrical on both sides, but we can have it right here, and I'm going to show you one little trick here. That's one of the reasons why this is now going to be dynamic. So first of all, we need to give it a little bit more resolution. I'm going to press Control D. Just make sure that things remain relatively clean down there. Yeah. They seem to be clean. Perfect. And I'm actually going to go one more so It's going to be like really high 2 million polygans. And let me just check where this thing is located. Okay, so down here. Perfect. So we're going to press control, and we're going to drag and it's going to be right about there. Now, you can see there's a little bit of a gradient. That's because of the focal shift. So I'm going to bring the focal shift all the way down on my control. There we go, and that should keep it, really, really intense. I'm going to break symmetry in this case. I just want to have it on one side, which is going to be this one right here. There we go. And I'm going to show you how to do it on the other side shortly. So I'm actually going to Go back to free hand, turn this off, and let's delete this thing because I just want to have this one on this side. I'm going to press control click, which is going to invert mask. And then there's, of course, a lot of ways to do it. I'm actually going to go down here to deformation, and we're going to be using the inflate button right here. So I'm going to inflate it down. It's kind of like extruding it down. And as you can see it looks pretty nice. I'm going to use a smooth But I'm actually going to bring the intensity of the smooth down a little bit so that we don't lose a lot of the detail because there's some very nice detail. I just want to lose a little bit of the anti aliasing thing. There we go. Now, the big question is, how can we make this thing be on the other side? I mean, we can keep it just there. If you only want to have it on one side, that's fine. But let's say we want to have on both sides. What can we do? Well, first, we need to mirror this because right now, this thing is in positive x, and I actually need to be on negative X. So I'm going to mirror this on the x axis right here on the deformation menu. It's just mirror. Okay, I need to delete the subdivision. So I'm going to go b bam Geometry, and we're going to go delete lower. So we no longer have subdivisions. And we're going to go deformation. Mirror, as you can see it's now on this side. The problem is actually, yeah, actually, the problem is that it's going to be on the other side. So no, if we wanted to really create this one, especially with logos and words, you're probably going to have to do it again here with the drag t, but we're going to have to get an inverse of this one right here or do it the other way around like this, right? Something like that works a little bit better because the name is going to be read the other way around. So it's not really mirror, right? Because this one reads from top to bottom, and this one's going to read from bottom to top, sorry, the other way around. So in this case, I'm just going to keep it like this. I don't think we really need to go like super super while. So there we go, guys. As you can see, we have a very nice alpha. We have the very nice metal. I really like this metal. It turned out very nicely. We have, of course, the wood. We can add wood grain if you want, which is a very, very similar process. Let's do it. Let's do it really quick. So I'm going to go here and I'm going to look for wood grain texture. If you look for this sort of things, we're going to get well, sort of elements. And in this case, we really don't want a very intense wood grain, something like this is a little bit closer to what we want. Not this. This is way way too much. But let's say you don't have something so intense and you have something like this, and you want to extract some information. Very easy to do so. You are going to need a image processing software such as photoshop, but the only thing you need to do is desaturated. Control shift in this case, which is going to bring this out. Now, Any point that is white will push out. Any point that is black will push in. Depending on how intense the contrast is, like if I press control L, and I start moving these things around. This is going to really, really change things, like, really push things down in this case. So I'm going to try to hit the met gray tone because a met gray will keep it on the same place. So I think something like this is fine. Now, of course, this is not tileable, so there might be some seams that are going to look a little bit weird, but let's keep it a shot. So I'm going to just save this. You can actually save it as a fotoco file. I'm going to save it as a poco file. What's going to call this wood grain. There we go. Wait a second. Now, I just want to folders up. There we go. Okay wood grain. Perfect. Now, if you go back into C brush, we can grab our standard brush and load an alpha, and it is compatible with PSD files. There we go. So now we were to drag and drop, you can see the wood grain right there, right? Now, how can we make this little bit softer? Well, of course, if we increase the focus shift, there's going to be a little bit of a gradient, which is going to save some of the stuff. And in this case, I'm going to go CSP so that it goes into the wood, and of course, we can decrease the intensity quite a bit. So this is the kind of thing that you want to go really, really, really soft because again, you normally won't see super intense grain, right? It's going to be relatively soft. It seems like I do have symmetry turn on or not. I don't have symmetry turn on. So I'm going to turn it on just to save myself a little bit of time. But there we go. See how nice this looks. Just a little bit of extra detail on certain areas of the ax. Here, where's the symmetry line. We talked about this with the fur. It's important to break symmetry because that's the area where things are going to be a little bit more noticeable. There we go. Look at how nice. That's like high frequency detail that looks really really good off. Of course we need quite a bit of polygon or polygons right here to be able to achieve that effect. But as you can see, it looks very nice, which, by the way, we could also achieve directly with texture inside of substance painter or something like that. But that's it, guys. Now, in the next video, which is the final video for this chapter, we're going to be talking about layers and layers are very, very cool things that we can do to damage this thing even more. Maybe, let's say that we're talking about a project and we're going to have a relatively new x and like a completely destroy x. But you don't want to do this in a destructive way. So that's where layers come into play. That's it for this one, guys. I'll see you back on the next one. Bye bye. 21. Zbrush Layers: Hey, guys, we'll come back to the last part of this chapter. We're going to be talking about layers, which are going to allow us to damage this x very, very nicely. Now, layers are a non destructive way to work. They're right here instead of the tool palette. There's another layer or another button called layers, and they're a non destructive way to save information for your model. So let's go to the main x right here. I'm going to go into layers, and I'm going to create a new layer right here. I'm going to rename the layer, and it's going to be called scratches. Just click here and call this scratch. There we go. So now, as you can see this thing is set to record. So anything that I do in regards to sculpting poly paint and moving things around and stuff, we'll be safe on this element. So let me give you a quick example. Let's say we go into the move brush and we move this thing like here. The element right here, we stopped the recording. And as you can see, this is kind of like a blend shape that's going to allow me to transform from one position to the other. So really, really helpful if I were to go, for instance, with Damion Standard, And now, I can just start adding like crazy scratches every there. There's actually a brush inside of our light box called slash, which is a little bit closer to what we're looking for. That's one right here. It's a little bit more aggressive, as you can see. So I can start just adding like crazy scratches everywhere. Crazy, crazy scratch. Let's say we went to war with this thing and we're getting this. Now, here's where, again, remember, the backface masking button that we have. That's one right here. Very important to turn it on so that we are not doing it on both sides. We can go to the other side. We have symmetry? Oh we have symmetry. My bad. So there we go. No symmetry back face on, and we can add a lot, a lot of scratches on the whole thing. Nice dose look. Remember, all of this could be baked down or displaced or you can do whatever you want. There's so many things you can do. And at any point, if my art director comes into the room and he's like, Hey, Abraham, that's a little bit too much scratches, my friend. I can just turn this off and soften this up. So I can say how many scratches you want. You want, very few scratches. You want a lot of scratches. You want half of it. There's a lot of things that you can do. And as you can see, we have several layers. So right now, I just finished the scratch layer, perfect. At any point, again, I can just go in here and move things around and change the way the scratches look. So I think for instance, something like that looks cool. Now, let's create a new one, and I'm going to rename this erosion or rust or whatever you want to call it. We are wreck we're recording, so anything that I do will happen here. Let me go with my clay buildup, and I'm going to change this to a round alpha. And I'm going to start carving in like big pieces, big chunks of metal from the axe even on the border here. Again, imagine like this act has been on the wild or lost in the forest for a long, long time, and there's been a lot of erosion. Let's really push this guy in. So again, I really like working with layers. I don't use them as often because usually props or objects are very clear. Or directors are very clear on what they want, but this is a great, great, non destructive wave to add detail to objects. The only thing that I must warn you is layers can be a little bit finicky. I've had some crashes and some corrupted files with this save often save different versions of your object just in case you face any of this horrible situations. But they're very powerful, as you can see right here. So now, at any point, again, I can just reduce the amount of erosion that I want. So I can have a really eroded one or not so much. Now, if I really like this one, but my ar directors like, go crazy, go even crazier, like, do something intense. Just hit the record button again. We can go back to our malat brush, remember? So let's go to the brush. The Mallet brush. Let's grab the malet fast, change this to a round alpha and do like a sprays really, really, really going there. And they play with each other. Like, as you can see the scratches, and this thing or the erosion that I'm doing, like, the rush thing that I'm doing, they're in independent layers, but they're both working in pretty much the same way. So again, at any point, I can just like reduce this and decide how much or how little damage I want for my x. Super super cool tool. This is per sub Tool. So if I were to change now to the what's the word Oh, There we go. It is per sub tool. So as you can see, this is what's the word? This is the head of the x, and we have two layers, and I can jump now to the handle of the x and do the same thing. I can go back here to the layers add a new layer, and let's do a trimodynamic, like harsher chisel elements, right? Or even I think that the malod works fine, but let's do just free hand. And let's just start like really, really hitting like damaging the logo. Hitting the bottom part here, the little hole over there. So like, really, really damaging. We can go trim dynamic and start flatting some of those things. Like if you're working on, like a damaged game like a postapocalyptic game with zombies and stuff, this technique is going to be so so so useful because again, you're going to be able to create a lot of variation. And then if the art director comes around and he's like, No, that's a little bit too much. You can just turn it down. One great example that they showed the pylogy show this. Oh, like, eight years ago when this first thing or when this thing first launched or a t b longer than that, I think, was like, like a Roman shield that was really, really, really damage, and it was done in several layers and stuff. So you could tweak how much damage you can have. And also, like imagine you need to produce a lot of different variations. Let's say you make a helmet, and then you add scratches and bombs and you move a couple of the geometry points. At any point, you can bake, as you can see right here, bake all of the layers, and and then you're going to have different variations of the same object. Like if you save another version of your file, for instance, right here, I'm going to save this as x number two. And at any point, I can just go back to the original x and create more variations without having to do a lot of work. So yeah, there we go. As you can see. This again, will change how much damage the wood has, and it's really, really cool. It's one of the coolest things I think that Sears has to be able to dynamically change the intensity of the damage here through layers. So that's it guys. This is pretty much it. This was a short chapter about an hour, I think. In general, but we took a look at the S molar, which you saw was very, very powerful, like see how fast we were able to model this super high quality x and look at all of the amount of detail that we can add here inside of Sivers. This, again, is one of the strongest points of Sievers being able to add so much detail and create amazing props for your games, movies, or projects. So that's it for this chapter, guys. I'll see you back on the next one. Bye bye. 22. Pillar Modelling: Hey, guys. Welcome back. There we go, my microphone was way up. Welcome back to the next part of our series. Today, we're going to start at Chapter five, pillar modeling. And in this chapter, we're going to be exploring a little bit of environment modeling. As you can see, I've created this course so that we can take a look at most of the things that Ciber can do. And right now, we're going to do a little bit of a diorama. So probably you guys have seen some of these dioramas, which are just in Mexico, we call them Macs, which are just like smdel environments, right? So I was thinking about doing a Greek diorama which, you know, column arc and all of these things. And I'm going to show you how to do this sort of stuff. So yeah, let's get to it. As you can imagine, we're going to start with C modeler. So we're going to start here on the simple brush. We're going to click PolyMesh three D. Draw the little star, it T to go into edit mode. And by the way, let me open this thing up. There we go. And we're going to go into initialize, and we're going to make this a Q cylinder y. The Q cylinder y is very important because we're going to be utilizing the y axis as our main like symmetry axis. Okay? Now, the only thing, as you can see here is that we have a resolution of two. So let me see if I can increase this thing right here. No, we can. It's just increase something else. Okay. So let me show you another option that you can use you can you go directly into the cylinder. And when you select the cylinder, instead of the little star, you're going to be able to change things here. So, for instance, right now, as you can see, on the H divide, which is a horizontal divide, we have 32 divisions, which are a little bit too much. Let's go down to 24. And also, right now, I don't want to have 17 divisions on the vertical axis. I'm just going to press a one. And as you can see, we're going to get this. So just a cap, this, and this. We're going to make this a polymers three D. And now, as you can see, it has poly groups and we're going to be able to use our traditional what's the word traditional like C modeler. So what I'm going to do here is, I'm actually going to scale this thing up so that we have a nice long column. There we go. And I want to create the caps of the elements. So let's talk about a little bit about poly groups, which we've used before. So I'm going to press Q Control shift and select this guys right here or the caps there, and then control shift control shift t to hide this cap right there. There we go. Then let's invert the selection and hide that thing. Actually, no. Again, I want to hide this guys right here. Do you need to grab most of it so that it works? Let's do it the other way around. Let's hide the caps there. Should we only have this caps right there. I'm actually going to say group visible. There we go, and then we can just hide this guys right here. The other way around, like this. Invert. There we go. And we do group visible and now we have three poly groups, top bottom, and center. We're going to click this guy right here, control shift so that we have only the caps. Okay. Z. There we go. And we invert this and group visible. Of course, we're going to go down here to unify started to display properties and hit double, and now we can see the caps. And the reason why I want to have the caps is because now we're going to jump into C modeler, we're going to go into Q mesh, and we're going to do poly group. So we can create a little border that this pillars usually have. So let's bring this up because I really want to have some nice bases on both sides. I am going to go insert edge loop, and we're going to do there. Now as you can see, this is not doing symmetry on the bottom side. Here's where symmetry can come into place. Right now, if I press X, you can see that we're doing X symmetry. However, I can go into my stroke here, sorry, transform and change instead of symmetry x, symmetry, y. And now, if I were to insert an H loop, right here. There we go. It should be on the bottom side as well. You can see it's respecting both sides. By the way, you could also do what's the word, the element like separately, and that would be perfectly fine. What I mean is we could mirror this to the bottom side, and that's fine. But in this case, I want to add one two and three. So two divisions there. Don't need to be exact. I don't need to be exact. I'm going to go QMesh but I want to mesh the whole island here. So I'm going to go into polygroup and we're going to poly group the polyop so we're going to poly group everything there. You can see it's happening in the same place over there. We're going to go there again, and then we're going to poly group all. We're going to push this out. Poly group, and then poly loop. And as you can see, we've created this very, very nice pillar effect on the whole thing. Now we're going to go into Bebles. So let's do Bble and we're going to beble this polyloop right here. And here's one very fun thing about, similar that I didn't mention. When you do something like this ble, If you just click on the next edge loop, it will do the exact same amount, which is really, really handy to make sure that things are really uniform. So in this case, that works, as you can see, perfectly fine. Now, I want to do the things that Greek columns have where each of these elements, like each line will have a little bit of a group. And to do that, I need to select all of these faces, which they already have a poly group, which is great for me. So I'm going to say Qs, but I'm going to do polygroup all. In this case, I'm going to do inset. Sorry, I'm going to inst, and I'm going to say inst each poly inside of the poly group all. Now when I do this, you can see that each polygon will get its own inset, which is exactly what I want because now I can very easily grab my Q mesh and just push this in, right? So push this in a little bit. There we go. Now, if I press letter D, remember, which is dynamic self division, we get this, which doesn't look quite nice. Why is this? Well, remember that we have this topology or modeling rules. And one of those is that we need support edges because right now, this thing is trying to, like, smooth everything all the way down. So I'm going to have to go here to insert edge loops, and we're going to insert a one edge loop there. And one edge loop. Let's make this thing really small. There we go. Trying to mesh. I don't want to me. I want an insert edge there we go. We're going to insert one over there, which since we have a y symmetry turned on, we should be getting down here, but we're not. That's weird. Did I turn off symmetry? I don't remember turning off symmetry. No, it's still on, but for some reason, that's not working there. That's fine. We can fix that later, and we're just going to go here. There we go, there we go. Perfect. Now when we press the D, as you can see, the shape is going to be a lot lot nicer. Now, I also want to add a couple of extra edge loops in other places. Let's press Shift D. It's a little bit weird that it's not following symmetry, but it should follow symmetry at least up here. Let's go there. There. That's pretty much it. So now with those done, as you can see, it's going to look sharper over there, and it should look sharper over here. Yeah. So it is working. Perfect. There we go. That allows us to create this very, very nice thing. Now, let's say we wanted to create an arch, like a nice arch of something, right? So here, what I'm going to have to do is I'm actually going to have to move this thing out of the symmetry plane, which is not such a big deal, but it might be a good idea to save this column in case we need it later. So here's where it would be a great, great idea to save this as column. Okay. Or paler, or whatever you want to call it. Because now, what I'm going to do is I'm going to add a new sub tool. I'm going to say append, and I'm going to append like a cube, and I'm going to scale this cube up. So this cube is going to be like my reference point to where this thing is going to be. As you can see, I can snap it to a certain degree. Let's say we want to make this like a five unit wide. Cool. There we go. Again, to two n I'm pressing shift here to make sure that we get the exact values there, and that's fine. That's fine. Perfect. Now I can grab this guy, and since the pothpoint is right here, I should be able to move this thing and align it as close as possible to that position. Now, we are off axis, which means that now I can go see plug in mirror and say mirror on the x axis, and we're going to have this. Cool, right? Now we can turn on go back to transform, turn off y symmetry, turn on back symmetry. And now, whatever I do on this guy will happen on this other guy as well, which, again, could be helpful. Now, let's do or let's talk about the arch. How are we dying to do the arch? Well, we need to find a shape that closely resembles what we want to achieve. And in this case, I want to have this sort of like curvature. In this case, the ring three D is probably the best one, but I don't want to. There we go. I don't want to just append it, and that's it. We actually need to create the basic shape. So let's delete this guy again. We don't need it anymore. I'm going to go back here to the little switch here, I'm going to select the ring three D. In the same way that what's the word that the cylinder had options, I also have options here on the initialized. In this case, I want to align to C so that the ring is facing me and then it's a little bit easier to see. And you can see that we have 32 divisions on the S axis, which is the element here. I'm going to change this to four so that we get a block. And I want to twist this. If I twist this, well, not twist. Sorry. If I were it, The divisions on here are fine, 64 I find cool but's not the twist where. We can change there we go. We can change the coverage in this case to 180 degrees so that we only get this thing right here, half of it, we can always rotate it. I'm going to try and see if we can rotate this thing not there we go on this twist right here. So it seems like the secret number here is 130 p hundred and 34 seems close enough There has to be another number. There we go. It has to be 45. There we go. 45. We do 45 degree angle. There we go. We have this very nice shape, and of course, we're going to make this a polymhthree D. We're going to go back to our column, and I'm going to say subt append and we're going to pen this polymhthree d. Go right there, E, rotate this 90 degrees. Now we can very nicely scale this up until we have our arch on top of our columns. There we go like this. Now, I think this arch should have some sort of like a base or something, so something there, so I'm going to give it a little bit more space so that we can fill in the gaps in there. And usually these things have a lot of bbbles and stuff going on. So let's do that. Let's go again into C modeler. Let's go into edge loop to insert a couple of edge loops. Let's say we're going to have just like one big hole here on the center. We're going to go here. We're going to polyp and poly group, the poly loop, which is going to go over there. Not ideal. As you can see here, one issue that we're getting is that it actually didn't know how to properly do the topology there. So let's go back a little bit. Let me isolate this real quick and you can see that the topology here is not perfect. What I want to do is I'm going to go into edge and I'm going to delete an edge, delete, and we delete that edge and this edge. There we go. That's now just like a square. We can also go into face and delete the faces, delete all of this, and then we can go into edge and bridge. From one point to the other, there we go from one point to the other. There we go. That's going to give us proper topology and I know that now if I insert an n slope here with insert, I should be able to get a nice line going through both sides, which is what I want. I am going to g I'm going to make a polygrap again, polygrap the whole thing. Group. There we go, Plyrop and there we go. Now it's going to be very easy to just go Q mesh, Poly group and just create a nice little effect over here. We can bring it out, we can bring it in. I think I'm going to bring it out actually. First, and then I want to add another line. Okay. And then same deal, poly group this whole thing, and then mesh this thing and this one is going to go in. There we go. Now we create this very nice effect. Let's do bebles now. I'm going to go bel. If we beveled this one right there, that looks nice. Let's just repeat the amount on this inner sides, every every single edge, but most of them, the one, this one I do want to keep sharp. Now if I press again the letter D, you can see that we get this very nice effect, which we're going to be adding details and stuff. Don't worry about that. That's something that we're going to be doing. Now, if we want to divide this because you know the things usually have segments, right? They're like made out of different blocks of clay and stuff. So one thing we could do here is we can actually go here into the again polyp Poly group, the polyop here, you definitely want to turn on symmetry. Let's do this big blocks. It's going to be like the keystone. And then over here, let's do inset. Poly group, and we're going to go back to inset region. Each region will create a little inset, there we go. That's what I want. Now this little thing right here, we're going to poly group, are going to pull in. Now when we press d, we're going to get this effect. It's made out of actual keystones, It's not like a whole block. Now let's solve this issue over here. What can we do? I mean, we can re utilize this guys right here or we can create a new one. Let's depend a new one. So I'm going to do a cylinder. Let's do another cylinder. So we have this polymsh three D cylinder. Perfect. Let's scale it up. I know this is very simple. It's just a six sided cylinder, but it should work fine. Let's make it smaller. It's going to sit right here, a little bit bigger. Let's go here. This one definitely needs to be a little bit thinner. The lands on top of the cylinder there. This one we're probably going to make Let's center the poop. Grab here. Center the poop There we go. Let's make it a little bit bigger then, so it matches nicely. T There we go. I know the five price D, this is where we're going to get, so we need a couple more divisions. Let's going to see model. Let's turn this on. First let's bele. I think le is definitely going to help. Let's pebble there. And there. Then I really like this one, but I'm going to do two. I'm going to go poly group, and we're going to poly group this one. Then this one out to get a different polygrop. Remember, you click and press and that's going to give you a different polygroup. Now we're going to go inset. Ist this guys right here and click to get the We should have come this same inset. There we go. I think it's proportional. Is gribing the whole thing. Let's polyro we have Inset there making sure that we don't get any weird geometry. Okay. That's really weird. There's it seems like there's double geometry or something. That's fine. Let's go um then. Let's um this thing out. Now let's bel. Here's where we can free style a little bit and find other cool things. There we go. Let's D Let's see, take a look at how that looks. That looks okay. I think we can harden it a little bit more, so let's use insert to insert a couple of fetch loops. So there, one down here, one up here, one up there, one down here. So when we press D with those nice sharp lines there we go. That looks cool. I still think we're a little bit small considering the pillar, so let's just make it bigger. Let's try to center it as close as possible. Then again, see plug in mirror, and we hit mirror, and there we go. So that's it. We have our nice little arc. I still think it's a little bit too thick to be honest. So let's make it thinner to go a little bit more in line with the rest of the elements. And this is it, as you remember, we save this as column, but I'm going to save this as a different tool. So if I ever need another column, I can just call the column back, and this is going to be called arch. Okay. So now we have two acts. We have an arch made out of columns, supports, and the arc, and we have the column as well. In the next video, we're going to be talking about symmetry, radial symmetry and how to add more detail here to the nice little columns. Okay? So yeah, hang on tight, and I'll see you back on the next one. Bye bye. 23. Symmetry and Lazy Mouse: Hey, guys. We'll come back to the next part of our series. Today, we're going to be talking about symmetry and Lacy Mouse to start adding a couple of details here to our columns. Now, I'm actually going to have to go back to the columns. So I'm going to go here load tool and load the column because we're going to be doing something called radial symmetry. And radiosymmetry is a super super super helpful tool to do whenever you're doing things that are symmetrically or radial or What's the work? When objects have radial symmetry, meaning that they are the same throughout 360 degrees. So let's say we want to add details over here. First of all, we need to divide this, right? So I'm actually going to go again, remember geometry. Apply this subdivisions. So we're going to go to dynamics of division. And apply, and then I'm going to give it a couple of divisions. One, two, three. Now, if I wanted to start sculpting, yes, I could just start sculpting whatever detail or element I might want to add here. However, imagine having to do that like 24 times and making sure it's perfect, it will be very difficult, right? That's where our very handy transform and radial symmetry comes into place. We're going to say that we are going to be using symmetry in the y axis, and we are going to be using a radial count. Now, as you can see, eight little dots appear throughout our scene, and it's going to be a lot easier to sculpt the sort of. Now, our grid columns used to have a lot of details, but we're going to keep it simple. And the way we're going to do this is, I'm actually going to go again back to transform and change the radial count to, let's say, I think I think 14 is a good number because we're going to have enough elements that we're going to see them throughout the whole thing, but not like super complicated, right? So I want to create just like something simple. And here's where again, using brushes and Alpha really helps. For instance, what if we use a drag t and we selected something like this little like whirlwind right here. If we do this now, as you can see, we're going to be applying this effect pretty much everywhere. And you can go online, look up for specific detail and just project it on top of the column. In this case, we're going to keep it again, as I mentioned, really, really simple. So we're going to use this alpha 11, which is like a little flower, and we're just going to project it over the whole thing. And now, as you can see, we're going to have a nice, very nice little detail here on the col. Might not be historically accurate, but it looks cool. Then we can change this and say, Hey, maybe one like add a little negative circle. I just press alt, let's increase the intensity a little bit, and I start dragging and that's going to project a circle right over there. Again, pretty pretty cool. Now, another thing that usually you see in this constructions are like this curved lines that go in and out through the form, this things, going like an interlace element. The problem is my pulse is really really bad. You can see how shaky that line is. Here's where the second little topic comes into play, which is called lacy mouse. So in the stroke panel, this is going to be in the stroke panel, not in the transform, which is where the symmetry was in the stroke panel, inside the lacy mouse options, you can turn on lacy mouse, which by default right now it is turned on, but you need to increase the lacy radius, which is how long it takes for the mouse to catch up. And now you're going to see this nice little red line that's going to allow me to create the very intricate lines without that much of a problem. So let me change this to around alpha. And I'm going to start right here and I'm going to create a nice little spiral going up and down. And since we have both, actually, let's start like in, and then let's do like an S shape. So we're going to start in and then we're going to go down, and then we're going to go back in. We can stop there and maybe continue the line over here. And it's kind of like connecting the things. I don't really like that one. So I want to go here, and I'm actually going to go until the next one. There we go. And then just close the gap. Look at that. Again, imagine trying to do that sort of detail just by hand, like just without lacy mouse or without radial symmetry, it will drive you crazy. So this technique that I'm showing you right here is super super helpful because you're going to be able to use it as many times as you want, for as many props as you want, and it will give you really, really, really nice results. Here, for instance, I'm going to try to create this sort of like base detail. I'm not sure if I like it. We can even create some small leaves or lines over here. Now, if the lazy mouse is a little bit too much and it's taking too long for the mass to catch up, you can lower the lazy radius. That's going to make a shorter red line, and it's going to allow you to create the things. See that? I might be a little bit easier to create whatever you're trying to create. Okay. Now, unfortunately, I don't think Xymmetry and y symmetry. Oh, yeah, they do work. Now they don't work. So you can see I'm trying to do x and y symmetry at the same time. Right now it doesn't work, but if we were using another object it might work, try it out if you ever need to just give it a shot. You can press L and L will get rid of lacy mouse so that you can just go here and add your own stuff manually if you need to like that. Let's at Circle over there, and you can see how nice our column starts to look. Now, we don't have the same detail on the bottom side. And here's where I was mentioning that I can show you a very nice thing that we can do to create or move this thing to the other side. Now, in order to do this, we could, of course, go into deformation, and if we change the mirror from y or from x, to y and we mirror without subdivision. So let's go to subtle or sorry, geometry and delete lower. We could just go here again, deformation and say a mirror, and this is going to bring it to the other side. However, we can also go to geometry, and there's an option here called modified topology and it's called mirror in the weld and we can change the little x to the little y, and when we do that, Yes, let's try that. There we go. When we do that, as you can see, what's going to happen is, whatever we had on the top, it's going to now be on the bottom. Now, this totally breaks out our subdivision things like you might see like a weird well line on the middle. But as you can see, this is going to give us a nice nice little example. Now, here, we have radialsymmetry. Which is this one right here on the y axis. If I were to turn this off and I just have the y axis, we're back to the same place where we were before where we can just move this thing around. Okay? Now, let me show you another one that's really, really cool, but for this one, we're going to go back to the arch. And you might be wondering, well, we changed the column, how are we going to go back to the arc? Very easily. We're just going to go low two. We're going to load the arc. There we go. Which is already here actually on the PM three D, and we're going to say Subtool pen, and we're going to pen the column. We might need to scale it up a little bit, or actually, no, that's the size, because we were moving it just position in the where it was as close as possible. No need to be precise here. All of these things can later be adjusted in engineer in My whatever. This guy, of course, we're going to delete. Bye bye. Grab this guy and we see plug in mirror. On the x axis. There we go. Now, just be mindful. Yeah. We have 1 million polygons here, so it's going to be 2 million polygons or 2 million points. So this is going to get heavy. Because we have a lot of details. We're going to call it even more detail. But for now, let's kep it like this. Now, let's go here. And for this one, we can't really use radial symmetry, right, because they're on each on a different side. Actually, no, we're going to go here, right? So let's control D a couple of times to give it some subdivisions. And I'm going to go into the light box, and I'm going to go for a nice little brush here, which is a stitch brush. And the stitch brush, this one right here, even though this is not clot, we're going to talk about clot later on, it creates this nice little stitching. As you can see, we're seeing something very familiar to what we used to have, which is the lacy mouse, right? Like using a little red line following my mouse. Well, the way this works is actually it's using this alpha and it's properly calibrated to weight 0.1 lacy steps so that when you start moving, it connects all of those alphas and it generates this sort of like a stitching pattern. Now, if we change this stitching pattern to something like the little flowers that we have right here, We could just start placing flowers inside the arc like that, like a decoration. Again, very, very simple. In this case, I'm actually going to go negative, so they're going to be engraved on the thing. Since they're all different blocks, I can actually stop and then start again and they will look fine. You can see that they're a little bit lower rest, but that's fine, and then we met here right at the middle. Look at that. Beautiful. Now, it would have been great if when we were doing this, Sorry. If we're doing this, we had the same result on the other side. It is possible. Sorry, my allergies. It is possible. The only thing you need to do is go into transform and turn on not only x symmetry but c symmetry. Now if we do this, you're going to see that we get the same effect back here. Again, super super handy. This is the main takeaway that I want you guys to get from this video is that there is symmetry, there is radiosymmetry, there is lacy mouse, and when you combine all of this, you can create some fantastic details that will be very, very difficult to sculpt manually. So as you can see here, We create this very nice detail and look at that. Our arch is getting more and more detail as we speak. So yeah, that's pretty much it guys, short video right now, just a general idea of how to do this. In the next one, I'm actually going to be showing you one of the industry secrets. Make sure to stick around, make sure to get to this point before moving forward, and I'll see you back on the next video. Bye bye. 24. Sculpting Damage: Hey, guys. Welcome back to the next part of our series. Today, we're going to be talking about sculpting damage inside of our sculpture or our arc in columns. So as you probably realized by now, a lot of the tools that you use are going to be one of the secrets to getting you great sculptures. So, in this case, we're going to go for a little bit of a stylized look. And there's a very, very famous brush pack, which is called the Or brushes by Michael Vicente. Michael Pcenta is an artist. I believe he was or is at Police art, and all of these brushes are for free, and the brushes gave you this very nice style zed look. So if you've never used gum broad before, it's just a platform for artists that you can use. It's just a matter of placing zero here. I want this. If you want to tip the artists, of course, you can do so. And once you get your little element, you just download. Now, hopefully, you guys still remember from one of our first lessons where to unpack all of this, right? So you're going to go into the tribe, where where you have your project in your software install. You're going to go Super T 22 S brushes, in this case, because you start brushes. And once you sip or decompress the guys, you can see they're all in no folder, so I'm going to create a new folder here called orb brushes, and I'm just going to drag and drop all of the brushes right here, b. Now, when we're back in sea brush, if we go to light box and we go to the brush section, we will find a new folder that we just created, which is going to be the brushes right here. There's a lot of really cool stuff. I'm going to start with something simple, which is this rock noise, which I really really like. Let's go to the pillars that already have a lot of geometry, a lot of divisions. The only thing I need to do is I need to use the color spray. To add this detail. See? Now, we might need a little bit more resolution. And this is one thing that we missed. When we were building this guy, one of the proper topologies that we should have followed was to add more divisions to the whole thing. So as you can see, we have really, really nice detail up here, but not enough detail down here. So how can we solve this? Well, there's a couple of ways. We're going to do the fast and dirty way right now, which is just dynamic. So I'm going to go geometry, dynamish and if I click dynamic. Of course, we're going to lose a little bit of detail, but as you can see, our resolutions better. So I think we can actually go to 500 should be good dyname and that should keep the sharp details. We're even a little bit higher than I was expecting, but that's fine. And now, if I were to increase the size and lower the intensity, we're going to be able to give this sort of like damage look. I think I'm going to turn off geometry in this case because I want to have different sort of like damage on the top and on the bottom of my objects, or we can turn symmetry back on, but turn off y symmetry and turn on x symmetry. So now, whatever happens on one side of the pillars will happen to the other side. And again, this is high frequency detail. Remember, the primary form is the most important thing, and we've already have that. So that's why we can go here into the hard surface detail or the high frequency detail to make this pillar look a little bit older. Let's go back to the light box and let's take a look, for instance, I really like this or details, which is also part of the pack, and it will give you the sort of like effect. I'm going to increase the intensity a little bit. Just make smaller, and you can see we get this nice little crack, right? In this case, I think this one works better if we push it in to give the sort of, like, eroded damaged pillar looked. I definitely recommend turning off geometry for this particular pass because it's going to, of course, give you a little bit more more variation overall. So let's go here, here, and there we go. Let's go back to the brushes and see what else we got. So there's this over flatten edge brush. This is more like a chisel brush, like a trim dynamic. Again, pretty cool, especially if you want to get rid of some details in certain areas, maybe flatten a little bit here. It's a lot stronger, as you can see, it's really, really, really strong, but you can get this very nice bubble edges pretty much everywhere. So if you want to erase some of the things that or flattened edge, it's really, really cool. As you can see, we get a nice effect. Let me show you here. Let's go this one. Let's turn off geometry because this is definitely going to be As you can see, we can start flattening up some of the corners there, and it's going to give us this very nice stylized look like chipped away material, right? You can, of course, go with clay build up. I really love my clay buildup. Start adding this sort damages. Remember, asymmetry, asymmetry or asymmetrical detail is what's going to really sell this fact. And it all depends where you want to take this later on. I mean, of course, you could do a topology. You can take this guy and just displace it inside of Maya. I personally a envisioning this thing for treaty printing. So if you like to play like war games or D&D, you could just definitely sell this thing or print it yourself and use it because it gives a very, very nice result. Look at that. Look at how nice this sculpture starts to look. Let's go here. Again, I'm going to use trim dynamic now to flan a couple of the details. Now, remember, we also have this very nice brush we used it before, which is the malat brush. Mallet is really, really good to give this stone damage effect. I really like it because it's quite aggressive. Let's give it a couple of divisions to this guys. There we go. Let's go back here. Again, with the malod brush, see how fast and nice it is to just damage the stone in this general pattern. If we go back to light box and we go back to our brushes, there's also this very famous cracks and stuff. So some of these are drag wreck things. So you're going to get this slashes, which are really cool. Again, especially for instance here in the column, we can add a couple of slashes. Maybe telling the story of animals that attack this temple or something and creating this very, very nice pattern. We could do this in layers. Remember the layers that we saw in the last chapter. Remember to turn on back face masking so that things don't project to the other side. There we go. There's also this one that I really like, which is this or slash, sort of like big chunks or bigger chunks. Pretty cool, but there's one. It was not that one. There's one that's like a Damian standard. I think it's this one Orb slash clean. Nope. Uh, Orb slash curve. Yeah, this one. So this one, slash curve, as you can see, this is if you want to create your own scratches. So let's say you want to create some nice lines over there, but you want to criss cross them or something. That's where the curves comes really into play because it's really really sharp, you'll get some very, very nice details over there, and it'll make it look cool. Let's go back to the brushes. Let's grab a little bit of detail. So I'm going to grab this again, this rock noise and just add the general noise to the whole thing, like erosion again. No everywhere. Sometimes having rest areas where there's not a lot of detail. It's a good idea to make sure things look cool. I'm going to grab my trim dynamic, start flooding some of the edges as well. And doesn't this look cool. Like in just a matter of minutes. Well, it's been about 30, 40 minutes for this chapter. But you can see how fast it is to create a little bit of an environment piece. Now, if we wanted to, we could just duplicate this thing and move it somewhere else and create a different story. Or do what I'm about to show you. What if we were to say a pen, let's append another column, and this column is going to be here on the site, but I want to get rid of half of it. Like I want to have a very destroyed column. Can we do that? Yes, of course we can. First, dynamic. To make sure that we have a nice workable thing. And then I'm going to use control shift, and I'm going to change this from select rec to select lasso, and I'm going to create a cut right there. Look at that, something like that. Then I'm just going to say delete hidden and dyname again and look at how beautiful this thing looks. Now, it's just a matter of cleaning off the edges, and we have a damaged column. Without the need to, of course, do all of the job again. We can just grab the base mash that we have. Let's fix it here a little bit. Okay. Let's use or brushes like this or rock noise because I would expect a lot of noise to be here. There we go. Simple as that. To what 2 minutes or less to create a new completely variant of this column, and you can do as many of them as you want. Now, let's start creating a little bit of a platform or something. So I'm going to go a pen and let's pend a cylinder here. I'm going to grab this one. It's going to be like my base for my diorama. So I'm imagining this thing is going to be like this, right? So we're saying like an arch let's let's bring the arch back on the back of the circle. Maybe there's a hero or like a character here. Like if you're presenting a character, is a great way to do it. Let's grab this guy. This guy is going to be right about here. Remember, we compress control and drag this to create a copy and then maybe just have it be laying flat on the ground, like buried, right. Like this. Let's move it a little bit. There we go. Even if there's a little bit of overlap, that should be perfectly fine. There we go. Let's go back to this guy. And since this is going to be like our base. Let's clean it up a little bit modeler. Let's go here, and I definitely want to beble this edge loop. This is going to be a high ble, then there one is going to be a small one. Okay. There we go. So we press D. It's going to give us a nice round surface. I do think I want to sharpen a couple of lines. Let's actually make this a little bit bigger because I want to create a base. Let's grab this guy, and part the mask, move this guy down. There we go. Then here let's turn on polyfme so that we can see what we're doing. Let Let's inset the polygrop island this one. There we go. And then let's mesh the polygopln as well, this one. Just bring it up. It's like a little border to the whole diorama, like that. Then we're going to use bo On the edges, we are going to insert, let's insert one, two, three, four, there we go. Press the, we're going to get this nice little platform. Okay. Perfect. So yeah, I mean, that's pretty much everything about damage. Of course, we can go crazy, like what we did what's the word with the last thing with the act. We can add like bigger holes over here. We can add other things over here, like maybe like a bigger damage over here. Like feel free to explore and build as much as you want. In the next couple of videos, before we finish this lecture or this chapter, we're going to be talking about insert mult meshes and how to create our own brushes to populate this little scene even more and create a very, very nice diorama. So yeah, hang on tight, and I'll see you back on the next one. Bye bye. 25. Insert Multi Mesh: Hey, Alex, we'll come back to the next part of our series today. We're going to be talking about the insert mult. So let's get to it. This is where we left off with our very nice diorama, and we're going to continue adding more stuff into it. So let's say we wanted to build like a wall, right? Well, we don't actually need to build a wall from scratch and sculpt it if we use something called Insert Multsh. So insert mult meshes are one special kind of brushes here instead of C brush that contain a lot of objects that you can use to create more interesting stuff. So, for instance, if I go here to the I don't know, like IMM tune. There's going to be all other parts to make a cartoon character. And these parts usually work really well with the dyn mesh three. So I'm going to select this fear, make it a polymshthree D, make it dyn mesh. And now, if I were to select, for instance, like this pointy nose, I can just, like, literally drag and drop this pointy nose right here. Use my W to place it where I want to be, and there we go. I have the nose for my character. If I want to add like I don't know, like ears or something, let's say we have ears there we go, like elf ears. You just double click, select this tool. And boom. We have some nice elf ears. So insert multi measures are really, really cool, in this case, to start something, but there are also some insert mult measures that are really good to create more stuff, right? So if we go, for instance, to light box again, sorry, not lightbox to my brush menu and I go into the army curve, you're going to see that we have stuff, like kit bashing stuff that if we were building, like a tank or something, like, look at this. We can create threats all around the lens. We're going to be talking about this curve brushes later on. Like bullets. And again, we just create, like a line of bullets without the need to do a lot of things, tank trad. There's another one right there. And again, we create this very nice tank trend going around. And there's a lot of brushes, like insert mult mesh brushes, like sippers cylinders, clothing artifacts, like if you're doing like belts and stuff, creating like bell buckles is really, really easy with my inserted multi meshes. And they're really cool. However, what if we wanted to create our own little like insert multi mesh? Can we do that? And the answer, of course, is. So I'm actually going to go here to my, do not switch. Let's go here. Well, actually, let's just go here. Let's grab it like a cube. And we're going to do a small little brick. So I'm going to press R, and I'm going to expand this so it's a little bit more brick like. Let's go into make Polymshthree D, and we're going to turn on dy mesh, so this is not dy mesh. And I'm going to use the BTD, which is a trimodynamic brush to start giving it a little bit of a nicer effect. Let's make the brush a little bit bigger to go a little bit stronger effect. There we go. Like, usually bricks, like, especially older bricks won't have, like, perfect angles at any point because they've been like worn out so much. And if you've seen, like carpd stones they're usually slightly rounded. Like you're never going to have like this perfectly like 90 degree angle. So that's what I'm doing right here. I'm just moving along my edge, and not really caring about symmetry at this point. It's just it's just a matter of adding this sort like, general change. Let's chip away like this, like, really heavily on this corner right there. And there we go. So now, we have a brick. And we can add as much damage or as much elements as we want. If you remember, from the last one where we're doing the details from the brushes. We can actually go here to this PQube again. Let's turn off perspective. Let's go into our light box and go into our brushes and go into our or brushes, the ones that we downloaded, and let's add a little bit of detail here. I think this one is going to look really, really, really nice. There we go. Like all over the place, like a really nice chip rocked. Let's have a couple of damages like this or slash. So maybe one of there, one of there, one of there and small one like Right there. There we go. So this is a nice brick. I mean, it's It is a little bit heavy, though, you can see that we're at 173,000 polygons, so it is a little bit heavy. However, it's a really nice one, right? It will work fine. Now, one thing that we can do before we create the in start mesh is that we can actually reduce the amount of geometry that this guy has. And the reason we might want to do that is because we're going to be duplicating this several times. We're going to be using our insert mult mesh to insert a lot of these guys into the scene, right? So imagine we have like ten of these guys, already going to be almost 2 million polygons. That's a little bit too much. So one quick way to do that is with a little plugging that we're going to find right here in the s plugins called a decimation master. A decimation master is a little tool that as the name implies, will decimate, we'll get you 10% of what you currently have. It's very simple to use, you're going to press pre process current right here. It's going to do a little bit of a calculation up there, and once it's done, you can go here to the percent of decimation, lower this to like 10% and hit a decimate current. Now, this brick only has 17,000 polygons. And as you can see, it retains most of the detail. What's the downside? Well, what it did is it pretty much triangulated the hurdle surface and it added more triangles on the areas that it needs them the most areas a little bit flatter like this one, I won't have as much detail. So if we wanted to add more detail right here, it won't be possible. We're going to get this very ugly shape. But if you're not going to move this, if this is going to be the final shape, then as you can see, it's perfectly perfectly good. So now, to create an insert multi mesh brush is very easy. You're just going to go V into brushes, and you're going to say down here, create insert mesh. Click there. I'm going to create a new insert mesh, and there we go. That's it. Our nice little insert mesh, it's right there. Now, we can save that brush, and that's actually what we're going to be doing later on. But for now, like this works fine. So if I were to go to the column right now, and I wanted to insert this, first, I need a placeholder. So I'm going to append a little sphere. And you can actually hide this little sphere wherever you want. Like in Mike, I'm going to hide inside one of the columns, so that there's a tool where we're going to be appending all of the bricks. Now, if I go V and actually up here, there we go, our insert mesh, and if we just drag and drop, you're going to see that we get a nice brick. And this brick, as with everything, we can move it, we can rotate it and just place it. And if we draw again, there we go another one, and if we draw again, another one. And if we draw again, another one. And if we draw on top of one of them, it's going to be drawn on top of that one. So as you can see, it's very easy. It's going to be very, very easy and very handy to use this mult mesh brushes to start building things on this little diorama. Just make sure that you don't go back. When you start drawing back, it scales weirdly. You can try and whole shift to make it scale uniformly. But again, when you go back, it kind of creates like that weird shape, and I think it's kind of like I don't know exactly what it is, to be honest, but I've faced that several times, and there we go. So as you can see, we can insert as many of those guys as we want, and we can play them where we want, and they will follow the surface of whatever object we're selecting. So that's why we can pile them up over there and create a little bit of an extra extra little like mass over here. You're pretty cool, right? Now, let's say we don't want to do one by one. Maybe we want to do a bundle of them. Well, we can actually go back to the PM three D cube, this one right here. And let's say we create a little bit of a pyramid. So I'm going to control D to duplicate this guy. Let's rotate this slightly, not perfect, so it's slightly skewed. And then again, control and just control Alt and drag to duplicate it. Let's get it there, and this one let's rotate it the other way around. There we go. And then let's do I don't know, like another one, like up here, right? Something like this, like, verily hanging on there. Let's rot it around, so again, we don't see the same sort of like details. It's going to be very similar there. I mean, we can use harsh brushes like the trim dynamic, and that won't really make things like super weird anything. So it could work like this. You can see the detail is fine. Now, this new bundle, which, of course, is a little bit heavy, we can press B again, going to create insert mesh and now append this to the brush that we are using. Well, of course, need to select, select it first. So we're going to select our insert mesh brush first, and then we're going to say B. Create insular mesh, a pen. Now, now, this is great. We can go back to our nice little diorama here, and up here, you're going to see that we get both options, the little cube and the little bundle. So if we draw the little bundle, there we go. In this case, the bricks are they're being drawn in this way, like horizontal. If we wanted them to be exactly like we designed them, we would need to rotate the camera. However, it's very easy to just rotate the camera over here and just position it where it's supposed to be. Let's build a little bit of a small wall over here. So as you can see, insert multi measures are super super super handy because they will allow us to save a lot of time whenever we're doing the sort of like modular pieces in whatever thing we're creating, right? Let's do a bigger one here. Let's root to 90 degrees and push this up. There we go. Now, it looks like a little temple has fallen over here. Again, if you think about this, this could be a little diorama for a character. Like imagine like a big character standing here, it would look really nice because we would, of course, have all of these effects. Again, let me rephrase how this works. I'm going to go back to the PQ three. Let's go back until we only had one of this. And let's say we want to do like another bundle. So I'm going to press control alt and just move it around. In this case, I want to move them around like this, and then like this, just like bricks pretty much all over the place. Now, here's what I meant. Like if you take the camera from here, this is how you're going to draw them. So in this case, I want to take the camera like this. I am going to press B, create insert mesh, B, create insert mesh, and we're going to append to the new or to the one that we already have. So now we go back to here and we draw, you're going to see that's being drawn exactly on the angle that we had before. So pretty pretty pretty convenient, I would say, it's a very, very fast way to populate big scenes with, like, just general stuff. And as you can see, it gives a very, very nice, like, complete detail to the whole thing. Of course, the amount of polygons is going to increase. Like this tool alone has how many does it has a little bit of over 1 million polygons just on bricks. So that's why it's very, very important that we decimate them in case we need to use them. Now, of course, we could just press dynamic here and have a nice resolution for the whole thing. You can see everything kind of combined there. And we can continue sculpting and adding more detail, like I don't know. Maybe when I had a room or something like here. You can totally do it. That's one of the great things about Sievers. All of the systems and all of the modules that we've been teaching you guys throughout this chapter are interchangeable. You can jump from one system to the other. Even though we were working with insert mult mesh, we can very quickly jump into dy mesh or subdivision levels, even bring in C steals you can do crazy crazy things with the tools here inside of severs. So yeah, that's it for this one, guys. This is just a little tool, as you can see N is looking better and better every time. We're going to be talking about curve brushes next. Hang on tight, and I'll see you back on the next one. Bye bye. 26. XMD Toolbox: Hey, guys. Welcome back to the next part of our series. Today, we're going to be talking about something really, really cool. And this is relatively new. At the time of this recording, this happened literally like a month ago. It was super late in 2021. So let's get to it. Late in 2021, they release Sabra 2022 version 0.2 or something like this. And one of the big announcements that they did was they incorporated this thing called XMD toolbox. XMD we shared with your brushes, this are one of the tools that a lot of artists use and have been using for a long, long time. And XMD's a brand, and they produce a lot of different brushes. Like, you wouldn't imagine how many of them are. And there are so many free brushes, it's ridiculous. The amount of free brushes that these guys have, it's ridiculous. Monsters, stitches, straps, ports, hair. It's amazing. It's so many, many, many free stuff. Now, you can also buy other stuff, like if at any point, you're looking for something really, really specific, landscape generator, terrain, knots, damage key. Like, if there's something that you want, the prices are really, really accessible. And I think we've talked about this before, but once you buy them, you can use them as many times as you want. So instead of seeing it as a expense, you can see it as an investment, right? Because you're going to be using them quite quite a bit. Now, the great thing is, again, like, very late in 2021, they actually release X DM toolbox three four free for everyone. You can see it right here. So free products and XM toolbox 3.0 plug in for ever. Completely free. Completely completely free. So what you're going to do is you're going to go here, join free. And you're going to download this. It's just a free download. You don't even need to register or anything. You just download it, and that's it. Once you install it, you're going to get this little thing right here, which is called the X DXMD toolbox. And the way to access it is you're going to go into C Brush. You're going to go once you install it, of course, you're going to go into Crush file, and you're going to say here, open XMD toolbox, and you're going to get this little prop right here. Now, the great thing about this one is you can see there's so so so many brushes that you can use. And some of them are the same ones that you get from Crush, you're going to see your insert sphere, your mood brush, your dam in standard. But there are so many other ones that are completely new. And not only that, you also get render presets, you also get spot lights, you get array meshes, grades. We're going to talk about some of them later on. Light remember, we've got lights, we get materials, fibers. There's so many things that you get alphas. Very, very important. There's also a lot more alphas, as you can see more like mechanical based alphas. Some of these are the ones that you get by default, but all of these ones are new ones. And yeah, so the ones that I'm actually interested about are this one, which are the brushes. You can click here to get a nicer reflection of what you're going to be doing. So IMM scales, Insert barbed wire, centipede, blah blah blah. So that one that we're going to be using right now is this one called Insert bnychain. And the only thing you need to do is double click. And once you double click, you are going to load that brush right here. And at this particular brush, along with all of the curve brushes, are another type of brush that we have here inside of severs, and they're really, really cool. I'm going to show you why in just a second. So the way this works is you're going to draw and a curve is going to be drawn on top of the surface, okay? So it follows the surface. Look at that. It hugs the surface very, very nicely, and it creates this amazing effect going from that point all the way down here. Now, As you can see, we have a curve in there, like an actual, like dotted curve, like the black and red lines. And at any point, you can click as long as the curve is active, of course, you can click the curve and move it around. And it's kind of like having like a dynamic, like curve, and you can move this curve around and create a lot of different things. Most of the settings from the curve are going to be inside of the stroke menu down here on the curve function, okay? So there's a couple of things that you want to know, but we're going to talk about that in just a second. One very important thing, as long as the curve is active, if you want to change the thickness of whatever you drew, you can just increase the draw size of your brush and then click again and it would update. As you can see the curve change now has less sections, and the chain is way, way, way bigger. And again, we can move this thing around and place it however we want in this little diorama that we have. You can grab the point, you can move it around. You can actually get it out of the element and just position it wherever you want. It's kind of like having a free flowing hair, which is pretty pretty cool. And again, if you change the draw size back to a small size, it would update. You can see that the chain becomes a little bit smaller, and the sections increase. So that's going to give you a little bit more control over the whole thing. So you're going to be able to create a little bit of a nicer curvature over there. Okay? Now, How do we get rid of the curve? Well, there's two things or two ways to get rid of the curve. The first one. The easiest one is just click any point of the geometry that's not the curve. So if you click up here? There we go. The curve is gone. Now this is actual geometry. I mean, it was actually geometry before, but now it's supplied. So you don't you won't have any way to modify that curve anymore. You can of course move this with like move brush, but you can see that the elements are going to start deforming. So it's not really moving as if it's part of a curve. It's moving more like normal geometry. And the other one is going up here to stroke, and if the curve mode is active, you just click out of the curve mode, and you're going to be out of the curve mode, okay? Now, let's go back here, V. Let's grab it over there. It's called the insert bn chain. And I think, no, this one does not have. So there are some insert multi mesh brushes that have as oil or there are some insert curve brushes that have things like the mult mesh, so you're going to have different options that you can use pretty pretty handy as well. But in this case, we don't have it. So, let's say we want to create a chain that goes from, like, let's say we want to go straight down like this. There we go. We just have it like that. Now, let's say we want to move it because it seems like the curve is a little bit off. So I would like to move this point forward, but I want to keep this one right there or as close as possible to there. Well, you can go to stroke and you can change the lock start or lock end. In this case, I'm going to lock end. So the end of the curve is not going to move. No matter how much I moved like the top of the curve, the one on the bottom shouldn't be moving. Did I select it properly? Yeah, uh, that's weird. Let me do it the way around. Usually, there we go. Yeah. For some reason, the locked end didn't work, but that's fine. So let's just move this thing back so that we kind of like hook it to the wall. And now we can, for instance, move this thing to the side, and it will give us this very, very nice, like, natural bend to it because we're actually like keeping this thing right where we want it, okay? So the lock end and lock start is going to be a super, super important feature. Let's draw another one. I'm just going to click here, and let's draw from there to there. And again, I'm going to go here. You can see that the end is not exactly at the beginning. It's not exactly where I want it, so I'm going to position it where I want it close to there. And then I'm going to go stroke. Log start still selected, so I can move this thing freely. And again, I'm just going to move it like this. And at any point, I can just start moving these things around to give it more of a realistic look. And it will dynamically move in and give me as close as possible to what we would expect from the real world. So let's go and do something like that. Pretty nice, right? And at any point, again, we can just click outside of the object, do seem to be falling nicely. Let's say we want to add a changes like layer around here. We just draw the chain, maybe going on top of the elements, and there we go. Cerus will try its best to accommodate the curb going where we want. If it finds difficult areas at any point, as long as we have the curb active, we can just move the st around and position this like this. Now, just be mindful, if you're thinking about doing this for tree printing and stuff. Since this thing is actual geometry, it could be possible to treat the print. However, since it's very flimsy and things are really, really like hollow and stuff, it will be very, very difficult to support. So you usually want to probably follow another method when doing this effects. But there we go. So now, again, we click outside of the element, and that's it. Now, here's another one. If you are still not sure where you want the chain to end or actually, I'm going to keep that one. I think that one looks fine. So let's just Let's just move it. Then we go closer to the ground and we click on any part of the object, and now it disappears. Let's say we want to do another chain, and we want to do a chain that goes from here to here, and then from that point, we want to continue over here. Well, what we can do is we can draw one line like that. Again, just start modifying this thing. And once we know that we are good, if we want to continue from there, see that little red line, we can re another section, as you can see there. And it won't create another first link over there. It will just continue the element. But if you want to do a really, really complex shape, it's just a matter of moving the cursor until you get that red line over there, see how it appears and disappears. Once you get that red line, you're going to be able to continue your chain and create something something interesting. So just a little bit of a plus over there. I think I'm going to leave it like this. I don't want to add a lot of a lot of stuff. And yeah, those are the curb brushes, as you can see really, really cool, really, really handy. I don't like that one that looks a little bit weird. But I'm going to add just like a hanging one over here. Let's just move it over there. There we go. Click the geometry to make it disappear, and maybe like a small one over here. And again, just go over there. Now if I want to rotate it, I'm going to click at any point, I can just go into transform and just move the thing around and make sure that it looks as nice as possible Remember. This is still geometry, and we can still do every single thing that we normally do with geometry with this elements. But then we're going to create some really really cool stuff. So if we go back to the X DM tool, there's a little option here, where's the filters. That one. Here you can look for curve, and you're going to get all of the curve things. Curve stash curve display, curve Aalpha There we go. So IMM curve, IM army curve. Those are actually ins brush. In this case, I just looked up for chain, and we have this omni chain bike chain. You can look for insert. You're going to find all of the ones. For instance, insert, barb wire, insert belt, bike gear. There's the bi rope. Rope is always good, right? So again, I'm just going to double click rope. And if we want to add like a little bit of rope somewhere, which is straw, and there we go. We have rope. We make the brush bigger, click the curve, and the ropes gonna be bigger. So if you need to add a rope on a character or something, that's really good. Now, I wouldn't really recommend you can do it. It's just a little bit complicated to do to do, if you want to do like a character with bracers and you want to wrap around, it is a little bit difficult to control the curve going around a surface like that, but you can give it a try. There are other other methods that can be used as well. So yeah, that's it for the curve brushes, my friends, as you can see, really, really handy, really, really cool, and you're going to be able to create some amazing stuff very, very easily. Just remember that It's a lot of geometry. Like, you can see the chains right here, almost half 1 million polygons are point counts because there's so many links to them. And they're really low poly. You can see here that if we take a look at the polyprom, they're really really low poly. Of course, you can control D to smooth them, but you're going to get a different results. Usually, when you're using insert mult mesh, you don't do anything else. You just like place the object where you want it, and that's it because the geometry is just going to be so so much, it's going to be a little bit difficult to scalt every single piece of geometry. So, yeah, make sure to say because our scenes are getting bigger and bigger, and I'll see you back on the next one. We're just missing a couple of more topics for this nice little chapter here. And the next one, we're going to be talking about surface noise. So hang on tight, and I'll see you back on the next one. Bye bye. 27. Surface Noise: Hey, guys, we'll come back to the next part of our series. Today, we're going to continue with the surface noise. It's one of the final parts in this little diorama that we have. And surface noise is one thing that we can add to amplify the details that we've been sculpting so far. So I'm going to give you a quick rundown of what this is. If you go here into the surface menu, which is another one of the menu, one of the many menus inside of savers, you're going to find this thing called surface noise. And if we turn it on, this little display is going to appear. And this display will show you how the noise that we're going to be applying will be applied to your surface. So noise as the name implies, is just that. It's randomly procedurally generated, just change in the form. So if we increase, for instance, here, the noise scale, you're going to be able to see how the noise is going to be amplified and applied to the surface of our object. Now, we don't want to have as much elements. We can change that with the strength, we can be really, really aggressive, or really really soft, depending on how we want it. And again, the noise goal is going to play a very important part. So if you want a very, very fine grain detail, you're probably going to have a small scale. If you want to have bigger holes, bigger noise, you're probably going to push this a little bit higher. So one very important thing about the noise maker here or the noise plugging is the fact that you can change the curve. Right now, this is a very standard curve where the noise is going to be applied in a very uniform manner. But if we were to push this point up and you're going to see the sort of graphs a lot, you can see how the noise is going to be changing. Let me increase the strength a little bit more, so it's a little bit more apparent. You can see right now, it's very intense, and then this kind of softens it up, right? So kind gets rid of it. So one thing that's very common is we can add a profile here, on the curve, and you're going to see how we can create, very nice variations where we're going to have things going up, things going down and digital like flat surfaces, and it's going to be very, very cool. If you're going to reset this, you're just going to grab the point and drag it out of the view, and that's going to reset the curve. Again, something that is usually used in this sort of, like, little graphs that you're going to see all throughout Sea brush. And yeah, as I mentioned, you can just move this thing around. You can get this into a layer, by the way, and you will only apply how much you want. So once you're happy with the surface noise, for instance, right there, I'm going to hit okay, and you're going to see that the surface noise gets applied to my columns. However, this is very, very important. This has not yet been applied to the mesh itself. It's just like a preview, very similar to the dynamic subdivision. This is not yet on the actual pillar itself. So if I turn this off, you can see that it just disappears. If I turn it back on, it's right there. The way that we're going to be applying this is, of course, with this little bundle that says, apply to mesh. And if we apply to mesh, As you can see, now the noise gets applied. Now, you can definitely tell that the sharpness of the noise gets a little bit decrease once we apply it. And the reason is the noise is just like a procedurally generated image. And once you actually apply it to polygons, if you don't have enough resolution, you will not be able to extract as much detail. Right now, we have already 4 million polygons. So I don't think it's really necessary to push it further. But yeah, it will give us the sort of detail. So noise is really really handy for surfaces like this one, where you really don't want to go and do it normally and you just want to have general noise. Just click noise. Find this guy so that we can see what's going on. Change the scale of the noise, let's say something like that. Change the form of the noise a little bit to create this sort of effect. And just hit, and that's it. You just apply to the mesh, and there we go. Now, see what I meant. This is when we don't have enough resolution because we only have a quarter of 1 million points. So what I'm going to do is I'm going to divide this one more time, and I'm going to apply it now, and let's see, that's a little bit better still not yet. So I'm going to do it one more time. We're at 4 million polygons. That should be more than enough. So when we apply to mesh, there we go. You can see that the noise is now consistent. Grab this guy as well. Same deal, noise increase the noise scale. Which, by the way, you can save a noise profile if you want, and you're going to be able to create something really cool as well. Then let's modify this thing, boom and boom. A little bit more scale. There we go. Okay. I like that, and just apply to mesh. A little bit soft because again, we don't have enough resolution. We're only at one half 1 million. Let's divide this once, and now apply noise. There we go. Okay, and apply to mesh. There we go. So it looks a lot nicer. It's going to be one of those details that unless you're really, really close, you're not going to see, but it will definitely definitely show very, very nicely. So yeah, I mean, there we go. We have a very nice effect. I know this noise plugging is really really simple. I do want to talk about something else, though. But in order for me to do that, I'm actually going to need to show you with the polypere. I'm going to go here to the polyphere. I'm going to make this a polymsh three D. And I'm going to divide this a couple of times. And inside the surface panel, there are other noises rather than the normal noise right here, such as if we go here to noise plug in, all of this ones right here. So one of the ones that's really really common is this hex style, which gives you this sort of sci fi effect. So I'm going to hit okay. And you can see that now, if I increase the plug in scale, we get that sort of stuff. Let's increase the strength here or decrease it, and there we go. See how we get that hex effect. Very, very cool. Now, the only problem is, as you can see, it's the forming through the surface. If your object has UVs, which in this case, we do not have UVs, It would technically unfold and wrap a little bit nicer. However, since this is a non UV object, we're not going to be able to do that. So this really really helps when you're importing an object from a third party software, or if you do the UVs here instead of age, which is a little bit tricky to be honest. But yeah, you are going to be able to apply a specific noise. Now, just be careful here. In this case, the noise scale, I definitely want to place into zero or sorry, not the noise scale. It's the mixed by noise in zero, so that we are only seeing the noise of the actual plug in. And again, we hit okay. We can see the preview over there, and then we apply to mesh. And there we go. As long as we have enough geometry, the detail is going to be applied. Now, one of the cool things about this, though, let's say, we're using this noise. Again, noise plug in, turn on the hex sties. There we go. Let's turn on the scale. Let's do a really small scale like that. Zero and a little bit more strength. There we go. Let's say we're doing like Spiderman or something. Since we haven't applied it yet, I can actually mask everything out. And then if there's an area of an armor where I want to use it, I can just unmask that area. And when we apply to mesh, something like this, and he applied to mesh. It would only apply right there. So at any point, I can just like do this, and then I don't know, inflate this, maybe. Let's go to deformation and do a little bit of inflate. So now, it might look like it's a panel inside of an object that has only that texture on that specific panel. So there are ways that you can get away. Unfortunately, you can't move it around, so it will be depending on your object. You can see it's facing forward. But the surface noise is really, really powerful, and it's something that you definitely want to keep in mind right right there. Now, talking about noises, there are actually some noises inside of our lightbox right here. That are actually really, really, really cool. For instance, there is one, like, I don't know, like this one, noise, 44 CNM. So if you double click, what's going to happen, as you can see here, is it's applying the noise to the sphere and screening this very, very tricky, like planet like rock. And if we go again to surface and to edit this noise, we can actually change for instance, the color. Let's say we don't want color. So we just bring the color blend all the way to zero, and there won't be any color, which hit okay and apply to mesh. And there we go. So now, all of that very interesting noise has been applied to the mesh. So remember that here instead of the lightbox, there will be noises just this one, the wall noise, which is going to give you this break effect. Again, certain objects will benefit a little bit more from this sort of effect, but they're really, really powerful tools. And as we've talked about before, on the XMD tool, you also have some noises here. Where are they? I think you do have some noises. Oh, it seems like I was mistaken. Yeah, no, my bad. I thought we had some noises there, but no. So most of the noises you're going to find right here inside of the noise panel. You can see there's a lot of them. Some of them are more colored than texture, but some of them will have some sculpture information. So yeah, that's pretty much it, guys. Now, I want to do one final thing, and we're actually going to be using this fear and a little bit of the noises. We're going to be utilizing a little bit of everything we've learned so far because as you can see the DM looks cool, but it would be cooler if we had something in there, right? L like a cellar piece right here on the center. So, so we're going to be doing something cool to showcase all of the things that we've learned so far. Hang on tight, and we'll see you back on the next one. Bye bye. 28. Hero Sphere: Hey, guys, we'll goome back to the final part of this chapter. Today, I'm going to be showing you a very, very nice technique, and we're going to be creating a magical sphere that's floating around on this object. Think about Lord of rings that magical grape thing. What I'm going to do is I'm going to start with the subs I'm going to append a sphere because I know that we're going to be using Iphere. Let's scale this up so it has a nice epic magical size. Let's move it to the front. And we're going to be using a little bit of everything we've learned so far. We're right at the midpoint of this course, and from now on, we're going to start working on a little bit of a bigger or more ambitious projects. We're going to be doing some hard surface. We're going to be doing some cloths. There's a lot of things still to be done. And eventually, we're going to get to our final project, which is the alien, which is going to be very, very cool. But before that, let's make sure that we master everything. So I'm going to go here to my polyprame and what I want to do is say, I want to create certain rinks out of this thing. And in this case, it's actually relatively simple. I'm going to go into geometry, and I'm going to say reconstruct subdivision. And if the sphere has proper sub division, I should be able to go down. In this case, it does not. No big deal. I am going to go into C modeler then, and I'm going to go into edges, and we're going to say poly group poly loop. Let's say we want a relatively big ring like this. That's going to be my first ring, and then let's do a second ring. I'm going to press at Okay, that's weird. It's not changing colors. Okay. I mean, no big deal. Let's make a bigger ring here. And let's do like the main ring. There we go. You click and then I was making a small mistake there. There we go. Polyp, and there we go. Now I'm going to press Control Shift and click on the yellow one Control Shift and drag to invert the elements, and I'm going to say delete hidden. So now we only have this three guys right here. I'm going to pre or I'm going to go into poly groups. We are going to what's the word? We're going to group visible so that they're all the same polygrop. Doing the same polygrap we're going to see poly group all let's keep them some thickness. There we go. Now, let's go into edges and we're going to bubble. Space bar, ble, and we're going to bubble this guy right about there. We're going to keep the insides sharp. I'm just going to bubble the outsides like this. There we go, and there we go. Now, I am going to again polyplylyp this guys, click and then together a different color, and let's polyop all of the insides of the elements. There we go. One, two, and three. Then I'm going to M polyrop and push this guys in to create, again, this magical sphere like effect. Now, what I can do is I can say plougl master, supple master, and we're going to mirror on the y axis to get the other s. That's fine. Even though they're like split right now, that's completely fine. I am going to mask out all of the upper ones and just move this guys up like this. Here's where the fun is going to begin because now, I'm going to press and click on this little guy so that we go in there and let's make this guys a little bit smaller. Because what we're going to do is we're going to go into poly groups again, and we're going to say other groups. Now each ring has a different poly group, and we're going to be able to grab one, for instance, that one, and let's mask it invert the mask, and we're going to rotate this, let's center the put. Now, this one is very important. We want to have the center of the sphere be the same for everything that now, we're going to create this crazy sphere floating around. Let's go with this one. Again center point, and we can create this shape. Let's go there. Let's mask in the mask. The mask, invert the mask. Let's move this down, rotate a little bit. We're going to repeating this interesting mistical shape. Let's go here, invert the mass. I'm going to reset this and actually, I'm going to move this down. Even if it's asymmetrical, I think it's going to still going to look cool. This one is going to be important. That one. We definitely want to move it like this. Finally, this one, We're going to move it. Even if we need to scale it, that's fine. The point is to get this sort of mystical, magical thing floating in there. Look at that. Pretty cool. Now, this actually looks like a small diorama something that's happening here. So there's a couple of things I want to do first. I'm going to give this a couple more divisions so control D control D control D. And I'm going to leave them like this. I'm actually going to leave them if they're made out of gold or something. You're probably going to see the render in the thumbnail or in our promo video, and these are going to be like gold pieces. Which by the way, you can actually change them over here, so I can just say gold. I'm going to say color. I'm going to press this little MRGB with this guy selected, I'm going to say color feel object. Now, if I go back to my started material, you can see that that's the only piece that's going to be golden, pretty cool. Now, I'm going to go to the ground now. Let's isolate this using this dynamic solar button, turn on polyframe I'm going to grab We definitely need way more divisions. It's going to do one, two, three, four, five, like, really high 1 million divisions in this case. I'm going to control shift on this one, and then control shift on this one as well. And I want to select all of these guys. Control click to mask them, and then control, click to invert the mask. There we go. And you might be guessing what I'm able to do. I'm going to go to surface, and I'm going to add some noise to make this like a ground. So let's move this around so that we can see what we're doing. We're definitely going to increase the scale of the noise. Okay. Something like that. Not a lot of strength, let's modify this. Now, since this is a very, very big object, we might need to actually push this quite a bit so we get what we want. In this case, I think that one looks cool, so it's going to hit apply to mesh. There we go. Again, it's just to have a little bit of something, which at any point, we can just grab our clay builder, for instance, and start adding some dirt mounds, right? It's getting really, really heavy. You can see it here, you can see my computer struggling a little bit because there's so many divisions now. Also, this is not the best topology. That's why it's struggling a bit to get this effect going. Because if I were to go here, you can see that it's working nice, very nice, I would say. But over here, it is struggling, it's normal for this effect. But there we go. As you can see, guys, we've now have this very, very nice diorama, and we build everything from scratch and here inside of seres. This why this is such such a powerful software because it has so many tools that once you start mastering all of these tools, you can pretty much exploit them and create anything that you might imagine. So let's get scoping, guys. Make sure to get all the way to this point because from now on, as I mentioned, projects are going to be a little bit more tricky. They're going to be a little bit more advanced so you might want to make sure to be up to date with all of the things that we're going to be exploring. So yeah, hang on tight, and I'll see you back on the next one. Bye bye. Okay. 29. Hard Surface Tools: Hey, guys, welcome back to the next part of our series. Today, we're going to continue with Chapter six, and we're going to be talking about hard surface tools before we jump into the project because hard surface is such a deep topic here inside of Seas. So I'm here with the basic just like sphere here, and I'm going to be showing you some of the most commonly used hard surface tools and brushes. So let's start with the brushes first. One of the first brushes that you probably saw, and we've already used it quite a bit is the trim dynamic. Train dynamic is really, really good because as you can see here, it will find out the average of the normal facing angle of an object. So if you take the curbature of the sphere, it will find the average of that curbature and it will flatten everything to that average. So you can see that the more I go in this specific area, the flatter it gets, but it won't get any flatter because now it's found like pretty much an average on that specific position. We also have the hard polish and the polish process, which is B H, and we're going to go here to the H polish. And the H polish works very similar to the tramadynamic. However, this one ignores the normal, like the average normal, and it just, like, literally polishes and flattens everything. So this is a little bit more aggressive, I would say, because you can do, a little bit of a more organic shape over here. The only problem is, you can see, in this case, I'm probably going to bring the focal shift down so that the sharpness of the line is a little bit more intense, right? So the H polish is really, really, really good. It functions in a very similar way to the term dynamic. But again, it's not averaging out, it's just going straight to the whole thing. We also have the traditional polish, which is just a basic polish brush. It's pretty much the same as the polish that we just saw. However, this one is not as intense. So if you just want to polish a little bit of certain areas, this one is really, really good because as you can see, it will allow you to only polish a little bit of the specific areas. I personally really really like trim dynamic. I think it's one of the best brushes that Seah has because it creates or it goes exactly where you expect it to go due to the average of normals. As you can see, we can create this very nice lines and cuts in a very simple way. Other than that, we have the planar brush, that's another very common one, and the planar brush again, works very similar to how the trim dynamic works. But in this case, it will find a plane and it will project that plane across the surface. So it's kind of like a trim dynamic, but a little bit, I don't know, the precise world would be like softer, right? So you can see here. I'm kind of creating a bubble going across this area because it finds that specific area and it pushes every single thing to that point. So again, one of the other brushes that you can use to create this sort of, hard surface look. Other than that, we have something called the special I like to call them the specialized brushes. And if you press control and shift, you're going to access all of these brushes over here. And these brushes, as you can see, we view some of them like the select rec, we have a select lasso which is also really, really cool. And I'm going to give you a little bit of history of how these brushes have been evolving. The first brushes that we got were the clip brushes. I'm going to select this clip curb and show you how this works. So when you press control shift and drag, you're going to create this line. And what the clip brush does is everything that's on the gradient side of the thing will be pushed towards the dot side of the element. So if I do this, you're going to see that we get a super super clean cut right there, and we can do this here. We can do this here, we can do this here, we can go back here and do this here. And as you can see, it looks, it looks because it's actually kind of like a fake. It looks like we're making cuts in our surface, but we're not making cuts. What's actually happening is that we're pushing, let me turn on polyframe here. We're pushing all of the surface or all of the points towards that dot line. So why is this bad or why is this harmful? Well, sometimes when you have overhangs and things like this, like, imagine we have like this sort of thing, and we do a clip brush like right here. It might seem like we just cut a little ear, but as you can see, all of the other things that were floating, they had nothing to stick to or to collapse to, and therefore, they're not just like flying over there. And if you were to do control and right click to dynamic, you might get this holes, which are really, really ugly. By the way, if you ever get the holes, anything we've talked about this in the dynamic part, but if you ever get this holes, one of the easiest way is to smooth them out, of course, the more you smooth, faster, they'll disappear. Or the other one is to go control shift, going to select Lasso. Select the points like I know that they're right here, like hide them so that they're no longer there and delete hem Remember, modify topology, delete heat and that way we delete that area. So as you can see, the clip rushes are really, really cool, but they are harmful if you don't know how to use them. Like, you can see there, if I don't cut straight through the surface, I'm going to get this very nice cut over here, which we dynamise could potentially work nicely, especially if we flatten and stuff. But it is quite destructive because again, we're not removing the geometry, we're just pushing it to the side. Now, we do have some cool ones like the clip circle. And the clip circle works in this way. I'm going to control shift click and then sorry, Control shift. And with space bar, you can move this thing around and place it where you want. Sorry for the spam over there. It's part of the shortcuts. And if I drop it here, you can see that it does something where you need to get the little cross, the white cross inside the object. Or what's it outside? There we go outside. You press control shift drag and if you have the little cross outside of the object, you're going to cut a hole right through it, which, again, we're not actually cutting the hole, we're pushing all of the geometry to these sides, y to the edges of that circle. And if you do the same thing, but without it, and here I do think we need to get this in. Sometimes you get this weird like circles. It's not working right now. So I'm going to go now to the clip and it does a similar thing, so we can just cut a hole straight to it. But as you can see, when the geometry doesn't find what it needs, it will create this sort of like weird flaps. So, clip brushes are really, really cool. I usually don't utilize the circle cp circle center clip re because now we have lifoons which we're also going to be talking about. But the clip curve can be quite handy. Now, we're going to be seeing other curve brushes and it's not like the curves that we saw with the chains are a little bit different. And there's a couple of things that you need to know. So when you start dragging here, if you press alt once, you're going to create a gradient curve. So you're going to be able to curve this thing and create a different trajectory. And you can do this as many times as you want. And each time you press alt, you're going to ad like a new burticy or a new little handle. Think about illustrator and in vectors. And that's going to allow you to create this sort of shape. So you need to create a very specific sort of shape, then you're welcome to do so. By the way, when you first control and shift, you don't need to keep them pressed, like once you're dragging the line right here, you're free to move it around. And if you double tap, if you press alt twice, what's going to happen is you're going to create a right angle. So right angles are really cool because we can do this sort of thing where we create super super sharp cuts on our objects. The reason I'm showing you this tool, even though we really don't use it anymore because we have better tools is you might find later on in your treaty career some information about older versions or older guides of seabruh and they might be using some of these guys right here. So just keep in mind that we don't use them anymore or not as much, but they're really, really cool. Now, let's go back a little bit. And if we go back here, after the clip brushes, like a couple of years after that, they created this thing called the slice curve and the slice circle and the slit. And they were created a little bit after a dyn mesh came into existence, and the way this works was pretty cool as well. So, for instance, the slice curve would allow me to slice a curve, and then we would control shift click. So like that guy right there in the invert the selection. Of course, we'll have to go to selection, invert the selection, and delete the heaten so when we dyn mesh again, we would get that very nice thing. So slice curve is actually really, really cool when you are working with cuts. Like if you want to create specific cuts for your dynamis things, it works very nice. However, there's a little bit of a problem. First of all, you can see that symmetry does not work. So as you can see, I'm making cuts over here and it's not actually doing them on the other side. How do you fix that really simple? You're going to go down here to deformation. You're going to mirror. And this works better when you're in dynamic, of course, you're going to go to modified topology and mirror and weld on the x axis. So now we pretty much repeat whatever we had on the right or on the left to the right, and we're going to have our polygrops nicely laid out. So I'm going to be showing you one week to the bandages or if you have checked our YouTube channel with the one last Halloween. And we follow a very similar process when we use a slide script to create polygrops in an object. And then a couple of other techniques to generate more elements, okay? So yeah, I mean, that's the slice group. And again, we also have the slice circle. So you create a poly group on those specific places. Now, you can see here, and this is actually very cool that it's not creating a new polygroup. It's slicing through the existing poly groups and giving them new groups or new poly groups. So now this little area right here, it's a new polygrop so you can start creating some crazy crazy stuff with this. This elements right here work very nice, and we're going to see them with the edge loop functions with the group loops and pan loops, which is another another little function that we have here instead of severs because they grab each of these poly groups and they can create their own mesh from them. So really, really, really handy. After that, again, a couple of years after this happened after what's the word? The slice brushes came into existence. And this ones are actually very, very recent. We got the amazing knife brushes. The first one we got was the knife curve, as expected, and then we got the knife lass of knife square and knife circle. And the way the knife brushes work is very similar to the clip brushes with the difference that when we do the cut, we are actually cutting it out. So you can see that it creates it's kind of like creating a boulon and triangulating all of the border and removing the big section of this object right there. This is symmetrical, so we can do this sort of things. We can do this sort of things. We can do, I don't know, that sort of things, and it will be removing and recreating these things. Let me show you why this is so important. Before we had this, when we only had, like, the clip curve, and we were doing like 90 degree cuts, something like this. And we dynamised it looked cool, right? But sometimes we want to do, going in, out and then out, and it will be impossible. Like the clip brush wouldn't work fine. So Sebor was like, Well, no problem. You can now use what's the word clip or the slice curve? Like, just slice your like 90 degree angle element, select that guy, invert the selection or select this guy, delete heating and when you dy mesh, horrible. We get this, right? So instead of getting the nice cut here, Dynamesh is trying to fill this in with this, like, weird I don't know, smooth blind thing over there. So that's why the knife brushes are so so powerful because we now can go in here, grab our knife brush, and if we want to do, like, a nice cut over here, we just do it. And that's it, we even have a different poly group, which is going to be really handy later on. So knife brushes are probably one of my favorite additions to the hard surface thing. We also have knife lasso, which is, of course, a little bit more organic, but it can get you some interesting things. We have n knife wrecked. Oh, sorry. Control chef, remember click, and we have this knife wreck which is super supermazing because now we can just like do this sort of cuts. Like imagine trying to sc those little cuts by hand or in Maya. Like try to make this form in Maya or blender, and you're going to go crazy. And we also have a knife circle. So we have this knife circle over here, and we can just like For the knife circle and this one, remember, you need to leave the little cross outside of the area, okay? So if I do this, I just create a weird loop over there. But yeah, look at this. Again, trying to this hard surface shape inside of Maya with proper topology and proper sculpting techniques, and it's going to be really, really, really difficult to do. So this could be the basis for, I don't know, like a monocycle or something. Anyway, those are pretty much the main tools. There's one more tool that I want to talk about, and this one is quite important, and that's in the dy mesh options. So most of the times when we do this, we're going to be or we would like to add more detail or sculpt a couple of things. Maybe like train a little bit here, give it like a hit or like a damage structure or something. You're probably never going to have completely clean structures. However if you do, then that's fine. And when you dy mesh, of course, what's going to happen is all of the nice little sharp borders that we have are now lost. This is where you can go into the dynamic options and turn on polish. And when you do that, what's going to happen is dyname will try to respect those borders by adding a couple of more geometries on there. You can see how it tightens up the edges tb bit. And of course, the more resolution that you have with Polish turn on, the nicer that border will look, as you can see right there. So it will hold the edge a little bit nicer. Hart surface is one of those things that really needs quite a bit of geometry to properly work. So make sure to up your resolution in dyn mesh or subdivision levels, whatever you're working on to get the best possible result whenever we're doing this. So yeah, this is pretty much it for the tools. Now you know about the main brushes and the main specialized brushes and the polymsh. There's a couple of other things that we're going to be talking about, of course. But as you know me, I like to teach with example. So we're going to be doing a sci fi helmet in the next couple of videos. Yeah, so just hang on tight, and I'll see you back on the next one. Bye bye. 30. Helmet Basic Shapes: Hey, guys, welcome back to the next part of our series. We're going to continue with Chapter six, and we're going to start with our helmet. So let's get to it. I'm going to go here into the light box. And we're going to be using our demo head right here. So I'm just going to hit no. We don't really need to save that one. That was just a quick demo. And we're going to be using this guy to what's the proper word? To get the proportions, right, right? To make sure that our helmets going to be looking nice. Now, we're not going to be rendering this guy later on. It's he's just a reference point. So I'm going to go to Subtool I'm going to hit a pen, and we're going to append a sphere. Oh, pen. Oh, my God. Pen here. There we go. Now, we're going to all click this fear, and what I'm going to do is, of course, I'm going to scale this down, get it to where the helmets roughly going to be right about there. And I'm going to use my move brush to block in the general shape of the helmet. So I know that the helmet needs to cover most of the character. You can actually turn this thing, the transparency on, and you're going to be able to see the guy beneath the helmet. Very useful to make sure that he has enough, like breathing room and the helmets not like completely like modifying this guy now as you can see, we don't have symmetry. Is that a problem? Yes, of course, it's a problem, but we can very easily solve it if we make this dynamise and then we'll modify topology and mirror and weld. Now, we of course need to turn on symmetry now before we do anything else and start like softening this dynamsh soft dynams soft. And again, it's going to allow me to recover some of of the work. There we go. So heart surface techniques or heart surface models. Of course, need you to use hard surface angles. Now, there's a lot of styles. Like, you've probably seen star wars, you've probably seen star trek. You've probably seen halo, you've probably seen war frame. Like, there's so many styles. Some of them, I like to call like organic sci fi, which is where you have like this very organic looking shapes and the thing just comes forward and stuff. And then halo, it's a little bit more like like traditional heart surface stuff, like military grades, right? So we're going to be doing something. Let's sketch it out. And this is the main thing about this video. We're going to be sketching out where and how we think this helmet is going to look. So I think I want to do I really like the BA helmet from Halo, which is like this very open visor thing. So I'm going to be doing like a wide visor like over here. Something like that. That's going to be my main thing. I'm actually going to go back here. Let me increase the resolution, dynam that we can get a little bit more detail. There we go. So let's do Let's look like a nice little curvature here for the visor. Something like that. There we go. I like that. That looks interesting. Again, if we were to turn on transparency, you can see how much of a viewing angle this character has. I think it's a little bit too big on this side. So let's push it on the side, so it's a little bit more form fitting, a little bit closer. There we go. Now, with my clear build up, I'm going to start blocking in the main things that I want to see on my character. I think I want to see some sort of like chain thing here. It seems like I lost pen pressure. When you lose pen pressure, it's a little bit annoying, of course. It sometimes happens when the driver doesn't up there or something. You can't really sometimes like disconnecting and connecting the tablet back again works. But other times you're going to have to just restart. So you can see here, I'm using my trim dynamic to keep it a little bit of shape there to that specific area. I'm also going to add like some sort of like elements over here. Yeah, ML build is the only one that's section weird because the term dynamic is responding properly. So as you can see, again, this is just a sketch. It's kind of like if I was drawing on a notebook or, like, a note put or something, and I wanted to get a rough idea of how this thing is going to look. I really like when some of the helmans have like this weird like canisters on the sides that support like breeding. So we're going to add like the canisters over here. Some breathing apparatus or something? Probably not as big, though. There we go. Let's just stream the dynamic again too to really get a nice shape over here. The main thing you want to try and do whenever you're blocking in, like, the sort of armors, is this I got from, I think it was Vitalli Vulgar one of the best, hard surface guys in the world. And he was mentioning one livestream seminar that he gave that you need to have something called rest areas, which are areas where there's not going to be a lot of, like, information. So for instance, I really want to add something here, like another sort of like connection to the main areas. But then, like on this area right here, we can kind let it rest a little bit before we add more stuff. In the front here, I do want to have like Like a big something. So again, trim dynamic, just bring this thing down. Okay. That's why I really like the clay build up in this instances whenever I'm Dating and stuff because it allows me to create form really really quickly. Some of the other brushes tend to be what's the word slow. It takes quite a bit of strokes to get to where you want. There we go. I like that. Now, here, for instance, I think we're going to continue with the line back here, and then let's cut all the way to the back. Over here, let's create an inset. Okay. And then let's do some paneling. So I'm kind of following the shape of a skull where my frontal bone, where most of the bones would be. So back here to again, do something interesting, let's add like a cut over there. Like I like that cut over there, and then over here, let's let's make it a little bit different to get again, some sort of paneling going. So we mentioned this is going to be like like the canister. And on my other screen, by the way, I have what's the word? I have a little bit of reference. I'm looking at Halo helmets. And I'm taking bits and pieces from everything. That's one of the secrets that a lot of artists don't tell you, but getting inspired. Some people think that it's stealing. It's not stealing. You're getting inspired from other things. As long as you're not like blatantly copying someone else's work, Then it's fine. Every single work, and this is something that a writer or friend of mine told me. Every single work that you've seen in the world, like in movies in games everywhere. It's derivative. So everyone has done stories similar to whatever you're experiencing at some point in history. So what you need to be focusing the most on is on telling the particular story that you want to tell with your words and through your vision through your imagination, right? Like that's the kind of thing that people are expecting to see. Let's add like some lights over there. There we go. So yeah, we've seen like Romeo and Juliet, 100,000 times, we've seen Macbeth, 100,000 times Hamlet, like every single video, every single anime, every single series that you see the story, the plot, the heroes journey. It's very, very similar. Same for for stuff. Like, we've seen 100,000 goblins and cs in every single video game and book that you can imagine, right? However, they all slightly different. And you might like certain gobblins more than others, and ks more than others because they give you like that sort of, like, unique vibe, right, that no other one might have. So that's why it's really, really important to not get the scourge and it's fine to to grab whatever you see on the Internet and use it as inspiration. Every single experience that you leave, every single game movie series that we watch will inspire you in some way or another. Don't think that by taking things that you really liked, you're going to be like a worse art or something. It's completely. That's completely wrong. There we go. So as you can see, guys, this is looking quite nice. So let me pause the better real quick. I'm going to reset the tab because we now need to start working on some of the blockings a little bit more nicely, and I need the pen pressure to work properly. So give me just 1 second. There we go. So now that we're at S Brush, and now we can start working on some pieces. So here's where the fund is going to start because one of the things that hard surface culture needs is clean shapes, right? Like, we know we need clean shapes. And we're actually going to be extracting a lot of these shapes so that we can work on them as a separate piece and add as much detail as we want. So let's start with this like chin piece right here that I really like. I'm going to define a little bit more. So I think I want to have, sort of like triangular shape, like going in like this. Let's try dynamic. Let's dynamis by the way. We need a little bit more resolution. Okay. And let's join this together. I'm going to reduce the intensity. It seems to be working. Maybe the clay builder for this particular one is a little bit too much. There we go. Now, how can we extract that specific piece, like all of this block from this head. There's a lot of methods to do so. First of all, I'm going to turn off the head and the eyes so that we're only working on the helmet here. And we can use polygroups and extract the polygroups. We can use an extract technique. Personally, I like using polygons, or poly groups, I'm going to show you here. If we take a look, right now, everything is a single polygro, I'm going to mask out with control this area right here. Mask the whole thing out, like all of this section, which is going to be like my main piece. I really, really want to mask it out. There we go. Then I'm going to press, there's a shortcut here that I always forget. I think is Shift F. Shift F? No, it's not Shift F. Let's go back here to polygraphs, and we're going to see it here, which is called Shift Control F I think. Shift control shift P I can't remember the sex chatter, but we're just going to say here group mask, which is going to mask the little element right there. So now that specific section is mask. And what we can do now is we can go into subtol and say split group split, and it's going to divide my subtol into two subtol. So this one right here, as you can see, let's isolate it. It's now its own subtle. The problem is when I dynamise this thing, we might not get exactly what we want, which is completely normal because it does this weird like curvature thing that we talked about before with a knife brush. So what I'm going to do here is I'm going to use my inflate, BN inflate brush to inflate this thing a little bit to get more mass. And now that I have more mass, and now I'm going to use my train dynamic to start polishing and cleaning up this shape, okay? So let's polish there. We definitely need a little bit more resolution. So let's increase the resolution, even more, I think. 10,000 10,000 polygons is way too little there. We got $17,000 it's a little bit better. So we can use stream dynamic there to really start blocking, and this is still like the blocking stages of the process. We're not doing any clean up just yet. So here, let's add a nice transition cutover there, and we're going to go right here. Pretty cool, right? And let's add another small transition here. Back here. Well, even though we might not see this ever. It's good to have a clean shape. So this starts to resemble something that we could like poly model inside of Maya or blender, right, which is exactly what we want. We want things to be nice and clean. Let's babble this thing here. Let's give it another small bevel on the back side there we go. So now we have this piece right here, and we can go back to seeing everything and you're going to see that, yes, we lost a little bit of volume. Let's go back here, dynamis so that we close the volume there, and we don't see any weird things. And here's where we're definitely going to start deciding. Let's go back on this guy. This guy, we're going to start deciding how big or how small we want this thing to be. There we go. Now, this looks good. I mean, it's a clean element. It has a little bit of curvature here, so I definitely want to fix that to make sure that it follows the shape of the face. But now, let's say we want to clean it even more, right? It looks good. It's not looking bad. However, I do think we can make it look even better. So here's where the knife brushes are going to come into play because we can use them to really sharpen some lines. I'm going to go into my knife curve, and let's really sharpen this line, for instance, like this top line. Like, maybe we want, like a super nice cut over there and like that, and see how nice and sharp those cuts become. It's really, really important. We can even use the curve function of our curve here to really polish those things a little bit more. And I'm going to be showing you one more technique that we're going to be using for this particular thing in just a second. We can even go down and then like down, and there's going to be a really, really sharp cut over there. Now we can even go like here, let's go a little bit closer and do something like that and see how nice and again and sharp this thing becomes. So that's the kind of thing that you want to do whenever you're cleaning this thing up. Like, if you know there's certain cuts that are really, really intense in how you want them, you can use a knife tool to start creating those cuts. You could at any point, like scale this thing, push it forward, do whatever you want. Remember, this is even though we're using a hard surface technique or a hard surface style, that doesn't mean that we can't do anything else. Now, One of the big things about heart surface is that for you to have, true, super clean hard surface, you actually need clean topology, like traditional to topology with edge loops and everything. And there's a way that we can use to get it. So I'm going to go here into geometry. I'm going to go to C measure, which is I do think we saw it when we were doing the little minatu thing. And I ser measure, we can use this thing called detect edges. So now, if I s measure we detect edges turn on, what's going to happen is it will try to find the hard surface edges and look at that. It will try to respect those edges. So now, it should be fairly easy to start using some of the other tools like trim dynamic and stuff and softening this up because as you can see, the hard surface technique or this hard surface element is really, really flowing with the rest of the effects, right? So really, really handy to use the hard surface. And now, since we're in subdivision levels because we have clean topology, we could very easily jump into more division. So, for instance, I can say control D, Jesus, give it a division and keep on polishing and softening things up. So cleaning it up with that hard surface is good. Now, it won't give you the best result if you were to bring this into Maya and properly add dglips topology. I said, Then, yeah, that would give you an even cleaner look. However, it should be more than enough to give us a nice little concept here inside of severs. A lot of times when you see hard surface things inside of severs, like sculptors and stuff, most of them are not production ready. They're like a really nice concept that can become a production ready model when you read apologize or bake or do stuff like that. But yeah, it's not always. So yeah, I'm going to stop right here, guys because we're running a little bit high on time. But we're going to be repeating similar patterns with other pieces here on the helmet. Remember, we record every single piece. This will be a little bit longer. This project is going to take a little bit longer than the ones that we had before, because as you can see, we have a lot of pieces, but at the end, it's going to look really, really cool. Hang on tight. I'll see you back on the next one. Bye bye. 31. Helmet Visor: Hey, guys, welcome back to next part of for series today. We're going to do the visor, and I'm going to be showing you a very, very cool technique that we can use to extract this visor and have a really, really clean mesh. So if you guys, remember, last time, we use the masking tool to split our subtol and create a different part right here, right? Well, in this case, we're going to do something similar. I'm going to mask the whole visor here with my mask right here, like so. But instead of giving it a poly group and splitting it into a different poly group. What I'm going to do is I'm going to go here to sub two, and I'm going to go all the way to where it says Extract. And by clicking this extract button, what's going to happen is, as you can see there, we're going to be extracting a mesh that resembles the mask that I just drew. Now, since the mask is really like dirty and stuff, the border of this thing is also going to be quite dirty, but it's going to be fine. So what I'm going to do is I'm actually going to reduce the thickness to zero, and when we extract, we're only going to be extracting a plate. This won't happen or the extraction won't actually apply until you accept right here. So when you at accept, we're going to get a new sub tool. Let's shift and click on the little to see it, and this is the biser helmet right here. Now, the only problem with this is, as you can see, it's mass going to control and drag outside of the object, and it's really, really dirty. So here's where again, the knife curve could be really handy or it's going to be really handy because we can just like polish of some of the areas. Wait. Is it the knife curb? Yeah. That's weird. We need to turn on dynamic. I don't think so. Okay, so it is cutting it, but it's not doing exactly what I want. Okay. Don't worry. Let's go on the next step. What we're going to do here is we're actually going to see remesh this as well, so I'm going to go again into geometry. C remeasure, and we're not going to keep borders. And now I'm going to press half here and I'm going to keep C remeshing. And what this will do, as you can see, it will try to reduce this as much as possible and get a really, really nice low poly effect. This is great for us because now what I can do is since we have very few polygons, we can start giving this the proper direction and movement that it needs. This one is actually not meant to be split. It should be like a complete helmet, but it's fine because it's going to be covered by the main piece. So you can see, up here, we get the very nice sharp lines that we can start using to create the general shape of our elements. Pretty much as if we were going back into Maya and repolgizing the whole surface to create the main biser shape. So I'm going to soften this up, maybe bring this out to create a nice little segment there. And there we go. Now, do you guys remember the dynamics of division that we used to have, this one right here? We can press it, and we're going to get the dynamics of division of the visor. But not only that, the dynamics of division actually has a thickness slider that we can use to represent how the thickness is going to look. And the more thickness we had, of course, the bigger the width of the object is going to be. So there's only one thing here on the thickness, and it's this offset thing. If you push the offset out, From the original element, we're going to push the whole thickness out. If it's at zero, if it's at zero, the offset, it will push half of it towards the front and have fits towards the back. And if we push it all the way to -100, it will push it all the way to the back. So in this case, I'm actually going to keep it at zero because I do want to go to the inside of the object a little bit, and there we go. Now, let's go here to sub T. Let's remove this thing and as you can see, this is where the visor is going to be. Now, the visor is going to be covered by pretty much all of the mechanical parts, so that's perfectly fine. So remember, when you're happy with how these things look, we can just go into geometry. And apply the dynamics of the division changes. So now, this is actual topology that we can use. Eventually, this helmet that we have here is going to disappear. So I'm just going to use my clay build up to push this thing in so that we don't see it, and we're only seeing the visor. We're going to go back to the visor. And if you need to, of course, with symmetry turn on, you can start moving and pushing things around. So for instance, let's really get that thing inside of the metal beds that we're going to have here. This one also let's drag a little bit further out. All of this, because remember all of this is going to be kind like ingrained on the whole thing. There we go. So eventually we're going to have remember. Let's go back to the helmet here. And eventually we're going to have the metal bits like just going over the main line of the helmet. So you're not going to really be seeing the line. Let's train dynamic this. Again, to generate the general shape that we we're going to be having there, which is something like that. Perfect. So yeah, that's pretty much the helmet, if you want to be a little bit more like fancy, what we can do here, let's press the helmet. Let's change the material. Let's go for this area like this reflect yellow, and we're going to say RGB turn out RGB over here. We color and feel object. And now we can go back to our started material. Oh, I move the light? There we go, we go back to a start of material, and now we can see how this thing is going to be looking? So you can see there's a little bit of a cut there. No big deal. Let's turn off MRGBGrab our move brush and just move this thing down. And the helmets the visor of the helmet is going to start looking quite nice. Now, there's another thing we can do. Let's give it a shot and see if this works. So remember, we talked about surface noise, and we have this very nice material that's very sip. Well, what if we wanted to add that sort of like texture to the helmet, like a little bit of an indentation. We mentioned that whenever we want to add that properly, we need to have proper US. Now, one of the cool things is that we have poly groups here, one poly group, two polygroups, three poly groups. And there is a little plug in here called UB Master. And UB Master will allow you to create a UVs here instead of s. They're not perfect. So if you're used to working with perfect UBS instead of Myo or blender, this might not be perfect, but they will get the job done. So if I hit on WP, you're going to see that we're going to get something. Something just got wrapped there. You can see one island was generated. How can we see the UV? Well, we can go back down here to the UV map, and if we hit more UB, you're going to see that we get this. Which, as you can see, is not bad. The only little issue that I have with this one is that it seems like the Oh, no, the main cut is on the back, so that's perfect. As you can see the main face is right here. It's very flat, so that should work perfectly fine with our noise surface. So I'm going to marve this thing back. Let's give it a couple of divisions. I'm going to hit Control D, Control D, control D, about half 1 million polygons should be good. And then we're going to go to, again, surface, noise. And let's do noise plugging. We're going to go hex sties. Okay. You can see them there. Let's increase the scale of the hex sties. Let's increase the strength. In this case, I want to cut in, so I'm going to increase the strength to this side. Look at that. It looks cool. Remember, we can make basic noise all the way down so that we don't have anything. And here's where things are going to change. Like, right now, it doesn't look bad, but we're going to get some stretching here. However, if we change this to UV, you're going to see that now using the U V as a projection place for our plugging. So if we were to increase this or decrease this thing, we're going to be able to get this. I definitely want to increase the stretch because it's looking quite nice. So I'm going to hit and look at that. We can just say, apply to mesh, and there we go. It's looking a little bit alist because, of course, we are using low resolution. I'm going to keep it like this because again, this is just like a concept piece. So I don't want to bring this all the way up to 10 million Pubicans. But as you can see that looks quite, quite nice. And that doesn't mean, by the way, that you can't add more detail, for instance, if I were to go with Damon Standard, I can still go here re Lacy Mouse. I'm going to change a stroke, Lacy Mouse. Actually, I'm going to show you another brush. This one's called the chisel brush. It's a little sharper. And as you can see, it has this very nice thing, has RGB, so let's turn it off. I'm going to make it smaller. So I'm going to press, and then I'm going to click, press shift, move down at 45 degree angle, and then drop shift, and that's going to add like a very nice line. So you can trace lines very, very nicely if you do this, and then just drop shift, and there we go. As you can see we get that nice effect over there. Let's go like, Okay. Let's go back here. There we go. Let's go there. There we go. And then we can just go there. Okay. That's a little bit too much. I think maybe just like a small one. So Chisel brush is really, really cool because it will allow you to do this hard cuts very, very nicely and create again more detail inside of our helmet. So yeah, I'm going to stop it right here, guys. And the next one, we're going to keep cleaning up some of the top and bottom parts of our character, and we're going to keep pushing with this nice little helmet concept that we have. So he got tight, and I'll see you back on the next one. Bye bye. 32. Top Segments: Hey, guys, welcome back to the next part of our series. We're going to continue with the top segments. So let's go. Now, this one, top segment that we have right here, it's quite, quite big. And I actually was thinking that it would be cool to have something a little bit more special. So maybe you guys remember the amazing Spider Man movie from a couple of years ago with Andrew Garfield, and at the end there is Rhino, right? Like, and he has, like, this mic suit. So I was thinking, what if we have a nice, like me horn over here. So, the first thing is, I need this big shape, right? Like I need this big part to get it out of here and get some nicer definition. So, in this case, I'm going to do something a little b different. I'm going to duplicate the whole helmet. And then on this one, let's isolate it. And I'm going to get rid of everything except for that part. Here's again, where our knife curve brushes or knife rushes come into play because we can just like literally delete anything that's on the other side. Remember, these are not like the clip brushes, so we're not losing any information. Like we're not like flanning everything. We're just like literally cutting this thing out, right? So remember everything that's on the gradient will be deleted once we go out of the gradient. So it's very important that you draw the gradient in the proper direction. So, for instance, here, Like here, let's go right there. And let's go double tap and t. There we go. So now we have the shape. Now, if you want, you can, of course, clean the shape a little bit. So at least is not going pretty much everywhere. Dy mesh, but let's make sure to turn on polish because we're going to be polishing everything here. And let's start cleaning. So with my clay build up, I'm going to start cleaning up some of this forms right here. Making them really, really sharp. Let's use trim dynamic as well. And here's where I mentioned before, we can start creating this organic looking shapes. Now, masking is also going to be super super strong, so you can mask certain areas like this one and then use your trim dynamic to really push certain areas of the object like this one right here, and then just smooth this out, so you can see how we can create some very interesting shapes without that much of a problem because we're making and protecting certain areas of our object. There we go. We're going to be adding a lot of details later on, by the way. I know that we haven't talked about those just yet. Let's turn everything back on. And again, I'm going to go to my main helmet here, and I'm going to use clay built to just push this thing in because we're not going to need it anymore. So eventually the whole helmets going to disappear. So that's the big shape right there. Perfect. Now, it's looking a little bit too round compared to everything else. So let's jump back to this guy and I'm going to use my mood brush to start giving it like a nicer effect. We can also use our knife curve and let's cut right there. Cut right there. Cut right there, and that's going to give a sharper looks well. Even cut right there, I think. And I'm going to use my trimnamic to flatten this surface. I like that curve. I think it looks interesting with the overal helmet. It's just too much. It was a little bit too much. So let's flatten that. There we go. Go back here. Okay. There we go. So for the horn, I'm thinking because most of this is going to disappear with what I have in mind. For the horn, I'm thinking to have this sort of like shape over here, and I want to have a couple of segments. So I'm going to append a cube in this case. Let's scale this down. Let's turn out perspective. There we go. We're going to rotate this like this. And this is going to be my main shape. Now, I do want to have bevels. Again, with my cut or knife brush and symmetry turn on. Let's add a couple of bevels to the thing. That's it. That looks pretty cool as a base, I think. So we're going to have it right about there. One thing that I would like to have, and this is one of the cool things here is I would like to have this be an inset thing. So all of these phases, it will be nice if we could create a little bit of an inset. And there's actually a way to do it. I'm actually going to clone this over here, and then duplicate this right here. Move this up, scale it down. Because it's the same shape, pretty much. Turn on light bullion, remember live Boulans when we saw them, and remove this. So now we have this very nice shape. Probably going to make this a little bit thinner like that, and there we go. So we have this interesting shape that is going to allow me to create my little horn. So remember for Boulans, we're going to say, make bullion mesh to make this a permanent shape. And we definitely want to dyn mesh this. So polish on and dynamish on with a hide resolution, of course, to really hold the surface. Look at that. Create a cool shape. Now, we go back to our helmet right here, That one we don't need anymore, so we delete and we append the new one that we just created. And then from this one, what I can do. Let's senti the food point here. I'm going to unlock. Remember, you press Alt and you unlock the Gizmo. I'm going to try to match it as closely as possible to the same direction that it has. I'm going to press control Alt and drag. Make this one smaller, so that it goes inside the little hole that we had. See why it was important. I'm actually going to rotate this get it in there. And then again, control alt is going to be even thinner, a little bit longer. Okay. Like that. Now, here, I think I'm actually going to use my move brush to a little bit of curvature to the whole horn because otherwise, it's going to be a ginormous horn, which I don't mind, but it might look a little bit weird. And let's do the final thing. Now, for the final thing, I'm actually not going to use this guys. So I'm going to append an option. So I'm going to go B and then IMM primitives and we're going to append cube. There we go. This is really just to have everything in the same subtle. We could have added this as a separate subtle and then change it around. I'm going to use my knife brush to create this nice little cut right there. This cube definitely needs a couple more divisions. Otherwise, we're not going to be able to do it. I'm going to remember other groups. Over here on poly groups. We're going to other groups so that everyone has one and I'm going to say groups and dynamic. Now every should have its own little poly group. Control shift click on this guy. Okay. And now I can add like this cut right there. Why is it not working? Is it because of Let's control shift. It is cutting it, but for some reason, it's not I am using the proper one. That's weird. I'm going to select this guy. Let's go back into select lasso. All of the ones that we don't or that we want to keep, we keep everything here, leaden and dynamis. Since that's a straight element, it should give us a fairly nice effect. Now, I'm still going to go here with a knife curve. There we go. So double tap. There we go. Let's isolate. Let's see if it works better now. That's really weird. Oh, happy little accident there. That looks really, really cool. So I'm going to keep it. So now it's just a matter of grabbing this guy. Let's mask it. Control click Invert this, invert the mask and just move move it down because I mean, I like it. I like it, but it's a little bit weird there. Let's again, other groups. Control click Control Control tab to that pool group, Control click to mask it. Control tab to go out, invert the mask and just move in there so we don't see that weird face. Now, I really like that horn but it's a little bit too much. So the cool thing is, right now, Dams fine. Right now, we can just move this thing down and make it smaller. Right? This is the great thing about working in this sort of way. I don't know, looks a little bit weird. Look cool, like being big and everything. We need to find some sort of size that doesn't look like weird or obnoxious or something. Okay. I think that's fine. I think that looks cool. Yeah. I like it. So yeah, there we go. As you can see, we've now created that very nice horn. Now, let's go back here to the helmet, and you can see that we have this elements over here, which eventually, I think it would be nice if we had some lights over here. So this are going to have some lights here. And remember, we had a couple of other bends or something over here. So this ones are a little bit more organic looking. They're not going to be as as mechanical or hard surface as the other ones. And but we still need to extract them, that's another one. You sometimes don't need to extract things. You can just grab like a sphere. And work with the sphere. Use this to recreate the shape that you want to have. I'm going to push this sphere to where it's supposed to be. Ad about there. Let's turn off or let's just use our mop brush here. Again, in a very organic matter, we're going to be pushing this and creating this very, very nice flow into the helmet. So we know we're going to jump into this helmet right now, and let's start getting rid of the things right here so that we're only seeing the shapes that we're working on because everything else is It's being taken care of. There we go. Now, if you want to give this a little bit of a hard surface you look, again, trim dynamic can be very helpful in these instances. Let's dy mesh. Let's really increase the resolution. Soften up, and again, used a little bit of train dynamic to maybe get a line there or something, right? Remember, one of the great things about this is that you can have so much fun and you can explore. I think the main thing that you need to take away from this concepting stage or creation step is just explore, find out what works, find out what does not work, and just push that kind of thing. For instance, that one right there, I like. I think it looks interesting. So again, BTD to trim dynamic and just polish the sides over here. This is going to be like this organic natural looking thing while having some other elements over there. Let's push this so it flushes a little bit nicer with the helmet. We can later add a little line or a curve that goes through the helmet. Or we can just start moving this thing like up and down to create a nice line. I'm going to use my masking here. I'm going to mask a little square in this area. Here's we're adding a little bit more geometry might be a good idea. I'm going to increase this even more. You can see that we're working with very little geometry. As I mentioned in one of the previous videos, hard surface really requires you to go a little bit heavy in this aspect. I'm going to copy the shape of the element, invert this, and then with brush, if we click out and click on that point, we're going to snap to that face, and we're going to be able to push it in. And when we dyn mesh. Of course, that thing from the other helmet. There we go. When we dy mesh, we're going to be able to get this nice little construction. Again, I've mentioned this before, you will never get perfect geometry just by doing this, like perfect heart surface things. You can, but it's really time consuming. My best advice if if you ever want to become a true heart surface artist, you are going to have to do a lot of rthpology. It's part of the job. Let's grab this guy. C plugging subtle master, and we're going to mirror to the other side. Oh plugin subtle master mirror, and we're going to mirror on the x axis to the other set. There we go. We have those nice little lines right there. And again, if they don't work or if there's something that you don't like, no problem. Just move it around. So for instance, I think they're a little bit too low. Let's turn on symmetry. So I would like to have them a little bit higher like about there. Even if I have to go to my visor and move it as well a little bit. I think that's going to work. Let's go back here and keep on erasing some of these elements over here. Don't worry. We're still going to be adding more details like section lines and stuff like that. That comes at the very end of the creation process. Right now, the main concern is getting most of the shapes. Most of the shapes done, let's jump on this one. There we go. Okay. I go to push it higher. Nice. Yeah, I mean, I like how this is turning out. Like if you remember how it was a couple of I think I have a quick sake here because I deleted the previous option. If you remember how it was, just like the blocking, now things are looking quite quite nice, right? So again, we're going to keep adding more stuff. We're going to keep adding more details. So yeah, hang on tight, and I'll see you back on the next video. Bye bye. 33. Bottom Segments: Hey, guys, we'll come back to the next part of our series. Today, we're going to continue with the bottom segment. So let's get to it. As you can see, we have this guys right here. And for this guy, I actually want to show you another thing that we can do, which is a little bit of kid bashing, okay? So, you guys remember that we have this things called the Insert Mult mesh, right? And inside the Insert Mult mesh, we have a lot of a lot of, like, very cool ones that we can actually use. So, for instance, if we go here into the insert mult mesh spaceship, You're going to find a lot of sci fiish looking things, like springs, disguys right here or disguys right here. Like, there's a lot of cool stuff. And for instance, we could replace disguys right here and maybe even dis guys right here with cool things that we find up here. So the way we're going to prepare this is as follows. First, I'm going to go here to my main mesh. I'm going to use my trim dynamic. I'm going to flatten the region where we're going to be using them because even though they're going to be overlapping, we might see some weird holes here and there. So it's important that at least we have the region prepared. So again, we trade dynamic very aggressively. I'm just going to erase all of this guys. At least I still remember what the sort of shape that we want them to be over there, right? So we just smooth all of this out, and there we go. That even makes the visor look a little bit nicer, right? So now, I'm going to append a sphere, which is going to be in a very similar situation or in a very similar way as what we did what's the word with the little environment? There's going to be a placeholder that we're going to be using to anchor any interult mesh that we use. So I'm going to go V. Let's go again to a spaceship, and let's find something that looks cool. Some of them are really, really nice, some of them are not as nice, but you'll find things that will be helpful every now and then. So you can see this one has 162 different meshes. Some of them again, are very simple meshes, but others are quite nice. So I think we're going to go with this one that we originally saw, like, this one right here. So if we drag and drop it, as you can see, we're going to get this shape, and it looks like a cool shape. So it's just a matter of finding where we want this cool shape to be the proper rotation and everything, and we pretty much save ourselves a lot of work by keep bashing a little bit of this things. So for instance, I think that one looks quite nice over there. And here's again, where we really need to go back to the original one to the original like base mesh and push out or in a couple of of the things here. So for instance, I'm going to push out some of that. And I'm going to push out some of this like this. It's kind of like the metal where these things are embedded, right? So just like a nice little surface there. We can even use our demintandar to create a cut line to indicate that that's where that small canister is attached to. Now, this one, as you can imagine, they can be subdivided. However, the topology is not super super perfect. So if we go geometry and we try to divide this, you might not get the exact result that you're looking for. You starts looking a little bit weird. So yeah, I mean, this is one of those things that you're going to have to decide whether or not Kee bashing will work for the particular project that you're working. Here, one thing I can do is I can give it a couple of divisions, and then try and soften them up soften up the lines, right? Like the edges that we have pretty much everywhere. Because some of them are really flimsy. You can see that, like down here, those little things are quite small and soft. So when we do the softening, you might lose some of the detail. It's a little cool. Just keep that in mind, okay. So whenever we're using that sort of technique, when we're keywhing stuff, you might need to clean up certain elements. Of course, we're going to mirror on the x axis to get on the other side, and you can see that our nice little rhino here is looking nicer and nicer. Now, let's say that you want to add, again, like a piece here, but you want to do it a little bit more traditionally. Like you want to model and babble and do things a little bit nicer, right? We can do that as well. So let me show you one little example here. I'm going to mask all of this area out. I'm going to try to make this mask as clean as possible. We're going to be using a very similar technique or method to what we use with the visor. So we're going to be extracting. So that's why I want my mask to be as clean and as nice as possible, like that. Now I'm going to go here to Sp extract. We're going to set the extraction thickness to zero, and we're going to hit extract and accept. And let's press isolate select dynamic solo over here, and there we go. We have this nice little piece. We're immediately going to go into geometry, C measure, and we're going to where's the word. Or what's the element of C remesh, and we're just going to see remesh. And this will give us a cleaner topology. We're going to press half and keep on going and keep on going and keep on going and keep on going and keep on going. And even more. Let's go really, really low. That's perfect. Look at that. Very clean, nice, simple geometry, and it follows the paths that we're expecting. Now, you guys remember the tool, C modeler. We're going to be using C molar. We can go here, mesh, let's say poly group A, and we're just going to mesh this thing out, and this is going to be like our main breathing thing or something. Let's turn on polyprame so we can see what we're doing. Let's say we want to do a little bit of a hole in here. Well, we can go here, insert. Let's insert a natural right there, and then let's go to poly group and poly group like all of these areas right here, like this faces. And then we're going to go mesh polygrop island. And we can kmeh testing in to create an inset, see? It would be very difficult to sculpt it or use the knife rush or all of the other tools that we have because it is a tricky thing. It's a tricky little element that we would need to find a proper way to do. And then we can start bubbling, let's say we're going to bubble here. We're going to bubble the whole edge up there. This whole edgelp there. And if we press d, which is our dynamic subdivision. Remember, we can see a preview of how this thing is going to look. We actually have both sides, which is perfect. I'm going to go insert again, and let's start adding our support edges. So let's do like one insert right there, one insert right there. One insert right there. One in back here and one up here. I really like this corner, so let's add a couple of them there. I actually really like this corner as well so that we go. Now when we press D, you can see that our shape looks a lot cleaner, a lot nicer. At any point, if I want to, remember, we can make this dynamise with or not ble with polish, sorry, we can add a polish here and just keep sculpting normally. So this is where again, all of the tools and all of the systems that we normally use in sea brush can be combined between each other. Take a look at this now. Pretty cool, right? So in a relatively fast way, we were able to create this nice little shape that we're now able to place and accommodate pretty much wherever we want. So that's one of the magic about Sivers. That's one of the things that I love about the software is that all of the modules can be combined to create amazing stuff. Now, here's another one. Why not just duplicate this, rotate this and reuse it somewhere else? Like maybe we want to have this one back here. I'm going to show you an easier way to do that. I'm actually going to go here into subtol. We're going to duplicate this. Let's dynamic solo again, Control Alt we're going to go into select asso, hide one of it with a symmetry turn off, delete hidden so that we only have one, bring it out, and now we can move that one. And another little thing that sci fi things do quite a bit is they utilize the same shape a couple of times and they just repeat it, like, making it smaller or something. So, for instance, this one right here, Let's bring the pivot point closer there we go. We could use it exactly on top of the original one, kind of like a child element, and just position it like this. Rotate it nicely so that we have a nice clean overlap. And that's it. That's going to give this piece a way more interesting effect and look because we're combining them, right? Like that would be an option. Another option is just to bring this thing somewhere else. So for instance, back here, we still don't have a a lot of stuff. So it might not be a bad idea to have some sort of locking system or something. I don't know, like there. Okay. So when you see the helmet from the back, you're going to see that little thing right there. Of course, we're going to go see plug in, mirror, and heat. Okay. And there we go. We have another little piece, that's one of the tricksom techniques that they use for the original Star wars, for instance. It's called gribble, whereas you just add detail that looks cool, but serves no function at all. It's literally not doing anything, but looking cool. That's the only thing. So if you remember, like the millennium falcon. It has a lot of pipes and connection and segment lights and stuff, even like the original dead start, of course, and it's completely unfunctional. Like, nothing that you see there is actually contributing to the working of the space sip. How does the spacial work? Magic, pretty much. Like it's just like a weird combination of things, right? But it works and you really don't question. You just look at it and it's like, Yeah, it looks complex. It looks complicated, looks cool. It's just like a space ship, right? So, So sometimes that's what we're going to be doing here in the sci fi things. Sometimes things are not going to make a lot of sense, but they're going to look cool. And if they look cool and your art director or the croent accepts what you're doing, then you're perfectly fine because at the end of the day, that's our job, right? Like make things that look cool so that people can buy our products, see our content, and and be inspired by it. So yeah, I'm going to stop the video right here, guys. In the next or we're going to start polishing things up. So we definitely need to work on the remaining part of all of these panels. I'm going to show you another little technique that's going to be really, really helpful for the big panels back here. And then we can start adding like Alpha details and a lot of different things. Here, I think I really want to add. There we go. A little support there. And again, we can with tri dynamic and just polish this thing up. If you guys are familiar with gaming workflows where you create the high poly poly and then the bakes. This is what you would be doing. You would just create an amazing sculpture. It doesn't matter how many pieces because at the end, everything is going to be combined in a single piece. You're going to re apologize this whole thing and and texture paint and do all of the different things with it. So yeah, I'm going to stop the right here, guys. I'll see you back on the next one when we continue with the paneling here on the back. Hang on tight and I'll see you back on the next one. 34. Helmet Panelling: Hey, guys, welcome back to the next part of our series today. We're going to continue with the helmet, and we're going to be doing the paneling that we have, like, back here. And pretty much all of the panels here, so I'm actually going to isolate this guy real quick here on dynamic solo down here, there we go. And let's make sure that we clean up the panels a little bit before we jump into actually, what's the word? Into actually doing it. We need to turn on, of course, that so that we can Add stuff. There we go. It seems like we lost pressure again. Let me esa real quick. So, I just found out it's not the resetting, actually. It's whenever I have photoshop active and I open severs at the same time, they seem to get the pressure sensitivities mixed up. So that's why I was getting weird results. So if you ever get this issue, I'm currently using a Yon Canvas. So, there you go. Just a small in for there. I'm going to delete this guys. We don't really need them here because we're going to be placing them on top. And again, the only thing I want to do is I want to clean up these panels as nicely as possible. Because we're going to be doing masking and when we do an extraction, we're going to be doing an extraction, of course, the cleaner the panels, the easier this whole process is going to be. So, in this case, I'm going to press control, click, and I'm going to change actually to mask lasso because this is going to be a big, big mask, so it might be a better option to just grab the whole thing like this. So I'm going to go here. We're going to extract, and, of course, at zero thickness. Accept. And there we go. We have this thing right here. So what we're going to do it's going to be super super important is we're actually going to, of course, be like reducing the amount of elements we have here. So we're going to go geometry, C measure, and we're going to start reducing the elements here. Let's do half I don't want to reduce it as much because I still want to see the lines because we're going to be using them. And we're going to be using one of the other tools that we talked about before, which is the slice curve, this one right here, which is going to divide into poly groups, all of these areas right here. So for instance, I'm going to go let's start down here, double tap, double tap, and there we go, now, as you can see, we got this nice big panels over here. Then we go here. And right there, and you can see that we get all of the lower version over there. For the upper one, for instance, let's go up back and then up and there we go different poly group over there. Then let's grab this guy right here. Remember, we don't have symmetry. Either you do it twice or as we're going to do it just a second, we're going to mirror on the other side. Control shift click on this side. Let's go one, two, three, four. Let's try this. Now, here's where I would definitely want to do the mirror so that we have the proper thing. I'm going to go all the way down here to deformation. First, we mirror this to so that's on the other side, and then I actually have it over here, so mirror and weld and there we go. We have that little segment there. Let's go again with this one. So very similar process. I'm just going to like delete this whole thing like that. And then you can see my two little shortcuts here. It's mirror first and then mirror and weld and there we go. Let's go here. This one is fine because we're doing it from the side view, so it should be fairly easy to just recreate this thing, and there we go. So now, as you can see, we've divided like the back part of our helmet into different panels. And these panels are going to be doing a very, very cool thing, which is going to be they're going to be using or we're going to be using something called panel loops. So if we go here to edge loop and I hit panel loops, you're going to see that what happens is we extrude this guys. We give these guys thickness, and not only that, but we're also giving them some divisions on those thickness. We can change the thickness here with thickness. So if I do panel loops, you can see that we create this and look at how nice and sharp those lines look. Right? So as you can see, we create this very nice paneling. Each island becomes its own panel, as you can see here, and we pretty much create a very nice effect over here. Now, here's where I could go, Oh, there's a couple of things I need to talk about the panels before we move on. We, of course, have the polish. We have the bevel profile, which is the type of bevel that we're going to have. If you want to have round panels or another type of panels, you can again, add points here, very similar to how we did it on the surface noise. So if we do something like this, and then we do panelos, you can see that we get a sharp line there, or maybe we want like a spike right there, again, panelos and there we go. We get that sort of thing. Right now, we have What's the word? We have five divisions. There we go. We have five divisions. So that's the amount of elements we're getting right here, the polish five panel loops polish, and this is the amount of points that we wet. Again, if you want to change the profile, you can do it here. If you want to remove one point, you just drag and drop it outside of the box and you're going to be back to square one. So yeah, there we go. Panel loops. Now here's where I would like to use the poly group function, so all the way down here to poly groups, and we're going to say other groups so that each panel becomes its own little poly group right here. And now, if we were to select polish groups and a high enough resolution, and we dy mesh, you're going to see that we get this very nice effect where we're going to be able to sculpt and pretty much do anything with it. So let's go out and look at that. So now, most of our helmet is done. We can actually I think we can actually delete the main helmet that we have, let's delete it. And, yeah, as you can see, most of the things are covered now. Like, the whole element, our whole helmet is pretty much covered. So we're going to be adding a lot of section lines and little bands and stuff on top of the helmet to make it look cooler. But right now, the main thing that I need to fix is, of course, where some of the position of the objects are. So let's push this like cheek panel in. There we go. Same for this one. Let's push them in a little bit. We have symmetry turn on. That's why we're moving everything. If you see a couple of points where things are not flowing nicely or they look weird. Like for instance, on this area right here, we can move out the panels and create this very nicely. Look at this. Like Imagine trying to do this in Maya, you wouldn't be able to do it in less like an hour like we're doing right here. These are again, as I've mentioned, very, very powerful tools, and the more you use them, the more you experiment with them, the nicer and the more interesting things you're going to be able to get. But this panning technique is really, really, really helpful. I'm actually going to show you another thing that I want to do. You've probably see sometimes helmets on the lower side. They tend to have the cushions, which is some sort of support. So we can do something very, very similar, but we're going to be using pan loops as well. So I'm going to pan a ring three D. There we go. Let's bring this ring three D down here. Is going to be my neck support. Oh. Right there, I'm going to use my move brush to give it a little bit more of a form fitting effect. Make sure to have symmetry turn on. So this is roughly where the support for the helmet would be. There we go. Let's isolate it real quick. Again, if we go into slice into a slice curve brush, I can say, Hey, you know what? I want to have one polygrop there, and then one poly group there and there and there, and there, we mirror min and well, we're going to have polygrop pretty much everywhere, and we can go back again into geometry and do a panel loops. So as you can see now, if I control D to smooth them out, you're going to see that we get this sort of effect. I'm probably going to increase the intensity there. Forgot to do the min well. There we go. So let's do like a wide effect right there. So when we soften up, things look a little bit nicer. And yeah, that's pretty much it. So now, again, with my moo brush, I'm just going to push this guys in kind of where the neck would be, right? Like, again, it's like the hermetic suit or something that you normally get to make sure that no one or that you're always breathing something, right? So yeah, there we go. Now, I think we can actually get rid of the character itself we no longer need him for the form. Like we already know where things are. That's some creepy eyes over there. Let's delete them as well. And there we go. As you can see, we have our very nice paneling here on the back. We have this nice little support. If you want to, like, we could Oh. We could grab like this paneling and just push it up so it looks like the helmet can actually be worn. And yeah, this is pretty much all you would need to do. Now, you can see that we got some hollow spaces here. Here's where I would use the move topological. I'm not sure if I've mentioned this brush before. It's very cool. It's VMT, is a shortcut for Move topological. And the way this works is it will only move an island. That's connected to the rest of the faces. So in this case, I can very easily just move this island right here to make sure that we're not actually moving any other piece of the helmet, right? And that way, this thing looks like it's like it's not floating into infinity or anything. Like it's actually overlapping things. Right. Same thing, you can see right there. Let's go into this guys. Let's just push them a little bit and move them around. Let's go here to this paneling. I think pushing the paneling out and creating that little, nice, sharp line along the surface. That's really, really good for the whole Vs thing. There we go. I like my rhino unicorn character so far. So yeah, I think we're in a very good stage, guys. I think we're ready to go into detailing. So we're going to start first with live bullions. We're going to be adding some light bullion stuff. Or actually, no, we're going to start with insert mult mesh and some traditional sculpting details, and then we're going to jump onto live bullions at the very end. So, hang on tight, and I'll see you back on the next one. Bye bye. 35. IMM Armor Details: Hey, guys. Welcome back to the next part of our series. Today, we're going to continue with the Armo details. We're the final parts of this chapter. Hopefully, you guys have learned a lot about hard surface sculpting here. So today what we're going to be doing is, we're actually going to be using insert Multsh to insert more stuff. So I am going to append and we're going to append this sphere. Remember, this is going to be like a placeholder, and we need this sphere so that we can inject things into the object. And it already knows or it will know where to place them. So if I go B, you're going to find again this like IMM guns, IMM machine parts. And there's again, a lot of things. I really like this one, this industrial parts because you have, bolts and stuff, and I think we can use some of those like bold heads on a couple of places for our characters. So it's just a matter of deciding where you want and literally dragging and dropping them so they look cool. Now, just be mindful, sometimes they float a little bit more than you might want. We can change that later on. Uh, but I'm just going to do I'm going to Let's go back. I think having like a couple of big ones here on the horn might be a good idea. Let's turn on symmetry, of course, so we get them on both sides. So let's do that. And let's do like here. And then, here, there we go. So now it looks like the horn is actually supporting all of those things. And then I don't know, for instance, like this guys over here, we add a couple of bolts, so it knows it looks like they're holding them. Same thing like here. Okay. On this guy, I want to add two small bolts. And this is something that I would like to call complexity out of simplicity. Sometimes you are going to have what the hell is going on here. Okay. That's weird. See that? Like the mirror is working there, but it's not working there. It seems like this guy is off center. If that ever happens to you guys, I mean, you can try and find the center again, but it's going to be a little bit tricky. Here, since we're in dynamite, I strongly recommend you do the mirror and world, and that's going to be it's going to fix it. So, as you can see, that was a little bit of center. So yeah, as I was mentioning, you will be able to add a lot of really cool, details like this one, without that much of a problem. A lot of people think that you need to do every single thing. And no, there's so much key bashing and stuff in traditional, like a modeling. Now, the only thing that I don't like about key bashing, which is what we're doing right now is that there are some pieces like this piston right there. That it might look cool at first. But if you're not actually using, let's go back to the sphere. Like if you're not dividing this guy, it's very, very low poly, right? Like, you can see how low poly this thing looks. And I mean, it's not going to be the end of the day. Just be mindful of which models you use. Let's take a look at the machine parts and see if we can find something that's interesting and cool. S like this little rubber ports. And we can add like a couple there and maybe like a couple more over here. Again, just to interest. Remember what we talked about before, we need to have a bit of what's the word of rest areas, right? So you don't want to overdo it. You don't want to have a lot of these things pretty much like all over the place because it might be a little bit too much. But yeah, you can use as many of these guys as you want. Let's grab like this coupler right here. And for instance, can we can make this kind of like kind of like what's the word? The things that he hinge. There we go. It's going to be a hingch over there. And let's add another one over here. Something that I forgot to mention forgot, but we haven't really talked about it. Everything that I'm showing you here in the CBRS course is how to utilize the tools and create stuff. But there's so much more things that you can learn out there about design specifically. So if you take a look at the best si fi shows in history, if you take a look at what other people have done throughout history, again, like Star Wars, Star Trek, any Si fi show that you can think of, you're going to find that there's a lot of Okay. I call them graphic ideas, right, that people are experimenting with and creating. And there's also this thing where sometimes there will be a couple of how do you call it? Oh, that's a little bit too much. I divide it. Wait, way too much 48 million. That's crazy. There we go. So once something hits, whenever you see something that's really cool and people like it, you're going to see things being repeated quite a bit. So when Hala first came out, a lot of the sci fi was influenced by that kind of like aesthetic. And then we start getting other sources of aesthetics and things change. So also be mindful about that because there will be things that will inspire you and change the way you do things. Now, here, I'm going to go into my Damien standard. And actually, no, let's go into the Ceeselbrush. You remember, you guys, we talked about the Ceeselbrush before. So we're going to use the chisel brush. And I'm just going to add like a couple of chesel lines here. Some accelerated lines to really push in the silhouette like on this guys right here. Something like this. So when we see it front the front, we see that nice little line. So as you can see, things are getting a lot more like busier and we're getting more and more like interesting stuff, interesting patterns which are really, really cool. I'm going to decrease the intensity a little bit. I think it's a little bit too much. There we go. And then let's go down. Perfect. So again, just small lines here and there that are going to really, really push the surface. And at any point, we're not going to do it on this particular one because we've done, damage stuff all throughout the course. But at any point you are welcome to add damage, like trim dynamics, slashes, scratches, rust, like anything that you can imagine, you can, of course, add to this whole thing right here. So, yeah, I mean, this is looking good. And again, you can go as crazy or as simple as you want. Like, I've seen some really, really basic well, not basic, really simple, minimalistic, like, sci fi designs. And there are other people that do, like, super intricate designs with their stuff. Like, if you think about, like, Mega Man, right? Mega Man has a really, really simple design, and Capcom really never went, like, super extreme with him. But then you take a look at something like master chief, like we were talking about or war frame where they do the super intense and cool looking armors, and you're going to be spending a lot more time on those. So be mindful about that, as well. When you're working on a project, the more time you invest on that project, well, the better the quality is going to be. So it's not the same to spend as we've been doing with this helmet a little bit more a little bit over an hour than to go in and spend a whole week like developing this concept, right? So the more time, the more quality, the more reference, the more art direction you have, the better the result is going to be. The important thing is for you to know all of the tools that we've been exploring so far. So I'm going to stop this one right here, guys. This detail. I don't think I want to go like any crazier, but I do want to talk about live bullions because you guys are going to love that thing. So hang on tight. Anle see you back in just 1 second. 36. Armor Live Booleans: Hey, guys, welcome back to the next part of our series. Today, we're going to continue with the helmet and we're going to be talking about light billions. So let's do a quick refresher of what light bullions were. We use them a little bit here. Light Bolion is pretty much a pen any sort of like shape on your scene, like, like a ring. And then you can use this ring to either add, substract or intersect it with your original mesh. So for instance, if I just click here, substract, you're going to see that we're substracting these piece from the object. So these are super super helpful to create intricate shapes inside of the hard surface world, and they work very, very nicely. The only caveat or the only problem with this is that they and you know it. Once you do a permanent volian, the shape that you get, it's going to be a shape that's not as workable because we get a lot of angs, we got a lot of triangles, and it gets a little bit tricky. So I only recommend this method if you're thinking about using the acid to create a low poly mesh later on, like a topologization, and then doing bakes. Otherwise, I would try to sculpt everything so that you can topologize each piece separately because those kind of details are a little bit tricky. So here we go. We're going to add another placeholder sphere. And this one, we're actually going to move outside because we don't want to be affected by this by any chance. And I'm going to say B, or not B, sorry. We have a B, and there's a ban. There's a very specific boolean mesh right here. Where is it? Where is it? There we go. IMM Boolean. And the IMM Boolean has a lot of shapes, very cool, like fi looking shapes, and they're really, really, really nice because they will allow us to create some amazing effects very, very easily. So here's how it works. Let's say we want to use a heat sink and we want to use this heat sink on this front view. So I literally let's turn on symmetry. We had symmetry turn on. There we go. And I'm just going to draw one its right there. And then as we know, the only thing I need to do is move this thing where I want this live voulon to occur, which in this case is this one, and just delete. And look at that. It's kind of like creating an indent with the shape of my live lion extremely extremely fast. So here's where we can use like this power details and the small little bolts and things that hold things together, remember that we were trying to do some of them on the plates, and I wanted to wait. This is why I wanted to wait because as you can see, it's very, very easy to just literally drag and drop. And this is geometry that we're dragging and dropping inside of our model. And then this thing is, of course, the live vol and operation to generate all the things we're seeing right here. So you can see how nice this thing makes it look. And how easy, right? Instead of having to sculpt them all by hand, we can just literally go there and add a couple of lines here and there, and that's going to be doing pretty much all the work. So, Yeah, as you can see, that's the light vol, and then we have like this frames right here. Like, I want to go on my horns over here and look at this. Let's add one there, one there, and, like, like, a small one over here. C will follow the shapes as close as possible. T's let's keep it. Kind of like symmetrical, kind of, like, following the flow. There we go. So again, complexity out of simplicity, in a very, very fast way or in a very fast like approach, we can start adding these sort of details that make our element look way more complex than it actually is. And it's not really making the job any difficult because, as you can see, it's quite simple to do. Let me grab this panel latch. I really like this panel latch, and we can add these sort of things like here to the side or maybe like here on this area. And remember, all of this is topology that's being moved, that's being generated. So eventually we can make this real. Oh, let's go back to our sphere because I clicked somewhere else. There we go. Let's Like a little latch over there. There, let's see what else do we have? We have like this one. This one, the b details look really, really nice. So we can let's add one main like oval shape right there. And again, this is like adding details when we were doing like organic sculpting. So the same principles apply. You want to make sure that things are looking as nice as possible before you jump and start doing this or things because otherwise, you're just adding extra noise where it really is not helping. Let's add a thermal band right there. Let's do another thermal band right there. What else? Like this edge port, We can make the little lamps a little bit more interesting. We can even replace the little lamps with this sort of like square port. That looks a little bit more like a lamp, right? So yeah, I mean, this is a super short video guys, but I just want to show you the power of the bullion tools. So again, if you're just going to be doing like a concept or render, this is perfectly fine, which express BPR. And look at that. That looks like a very, very cool like helmet piece, right? Like a nice content. This could be further refined. Now, what if you wanted to use this for a video game, and you're going to be doing like a low poly and then bakes and everything. Well, remember, you need to go here and make this a boolean mesh. However, keep in mind that we have 3.9 million polygons. So all of the polygons that we have right here, are going to be applied and are going to create one single mass, which is something that you might not want. So in those cases, you might want to split the sub tool into different parts and export them as they are. But yeah, this is pretty much it, guys. I think I want to add a detail to the helmet. So there's this line that I really like this ring design and see how we can add that ring design over there. Pretty cool, right? Let's get rid of the RGB. I still ing it. Now, since this is really, really thin, you might not see as much or we can add like this cross wire, and have a cross wire go across. You can actually make it go across a lot of surfaces because this is actually dividing or taking away from other pieces. So yeah, just go crazy with this guys. It's a really, really fun way to add detail to the whole thing and make sure your design becomes a little bit more complex. So I'm going to save this one for you guys. You're going to have one of the first options and then the final one. It's going to be called Si final Sif helmet. Final. There we go. So remember, guys, if you're opening this file to take a look at it and see a couple of the subtles. Remember that the last subtle right here, it's live Bolons. It's still on. We have not applied them. So at any point, I can just turn this off and we're going to we pretty much lose all of the details. But if you turn it on, then we're going to bring all of those details back. So that's it for this chapter, guys. We're now going to jump onto chapter number seven, which I think you guys are really, really going to like. Hang on tight, and I'll see you back on the next chapter. Bye bye. 37. Dynamic Basics: Hey, guys, welcome back to the next chapter in this series. Today, we're going to be starting with dynamics. So yeah, let's jump right into it. So dynamics are one of those things or these things that have been recently added to Sirs. And by recently, I mean about like a couple of years, probably. But it's one of the, the newest features or some of the newest features that Sievers has to offer. And dynamics are really, really cool. I'm going to make a poly mesh through the here real quick, and you're going to find your dynamics menu up here. So for this particular part of the series, I'm actually going to be opening this little duck over here, getting rid of the brush options, and ducking the dynamics over here, because we're going to be using a lot of this attributes. So dynamics, as the name implies, is a way or it's a system here instead of series that allows us to dynamically process or calculate how a certain material would behave in the real world. So if I were to move this thing up, for instance, actually, I can't move it up because the floor moves up with it. If I just run the simulation right now, you can see that this sphere flattens. Like it completely loses all sort of volume and it flattens into water, right? And you can see how it works right there, which is pretty pretty interesting, but it's not exactly what we want. I'm actually going to go here and subtol and I'm going to pen another object, so like a small cube. And I'm going to push the cube down and to the side. This cube is going to be like my floor guide because whatever object you have in Civers that's like the lowest, that's going to be the mark for your floor in this case. So if I run the simulation, or let's go to the sphere again, and I run the simulation, you're going to see that it falls and then it hits the ground, okay? You can see all of the simulations are taking place up there. You can run the stimulation press space bar, and that will stop the simulation and run it again and stop and run it again and stop at any point that you want, and you're going to get this sort of thing. So It's really really cool. Originally, it was designed to create or or help us do cloth inside of Sears, and that's what I'm going to be focusing on. But there's a lot of other uses. I've seen some people do like chains and other things like rubber ducks or balloons, like there's some crazy things that people can do with dynamics as long as you start tweaking the elements over here. So let's talk about the elements right here. And for that, I'm actually going to open another option right here. I'm going to go into our tool palette, and I'm going to bring Let's bring Nick right here. So I just double click Nick, and there we go. So Nick is going to be our model today. Nick has a lot of tools. I'm just going to select the top one, which is the only one I actually want, and I'm going to duplicate this or sorry, clone this over here, clone so that we have a tool with only Nick available. There we go. So if I were to say a pen and bring a plane into the scene, like a plane three D and move this plane like up, like for creating a little ghost or something, and I hit a run simulation, you're going to see that this thing just falls into the ground, right? Like, nothing happens. However, if I were to rotate this and run the simulation, you can see that it actually bends a little bit. Very cool. Why is this happening? Well? Because we haven't told Sieberg that we want Nick to be a collider for our simulation. In order for this to happen, I need to click on here where it says, D collision volume. So I'm going to click collision volume, and now Sieberg has calculated all of the other sub tools that we have, and it knows that Nick is now a collision. So if I run a simulation, you're going to see that this happens. But it's not really working like I want. It starts working fine, but then it just goes through Nick and it goes all the way to the floor. Why is this happening? Well, there's two main things that are happening here. The first one is the simulation iteration, which is how many times it's going to calculate per second. Where the cloth should be. If I increase this, if I increase the simulations, the simulation is going to take a little bit longer, but it's going to be more precise, as you can see here. I didn't fall through Nick because it knows that it needs to stay up here as if it was just like a traditional cloth, right? However, it's still not enough because you can see that right now, it's falling really, really fast, and that's creating a little bit of an overlap there. So how can we avoid that? Well, with the gravity strength. If we decrease the gravity strength to something like four, and we run the stimulation. Now you can see that we're running 1,000 simulations per second, and it's taking a lot longer to fall. And that gives Seabruh enough time to understand where things are supposed to be falling, which is exactly what we want. Now, one of the things that you might notice right away is that the clot looks very like polygonal, right? It looks very harsh. Well, there's one very cool thing we can do here. We can actually turn on remember dynamic subdivision. We can turn on dynamic subdivision to get a nice soft cloth over here. So we can continue running the stimulation, and that's going to give us a nice effect. And I mean, that's pretty much it. Right now, we're only using gravity, right? So at this point, the only thing that's affecting this cloth is the gravity falling down. However, as you can see, we have a lot of different things. We had inflate deflate expand, contract, allow shrink, allow expand, the gravity liquefied set direction, there's so many things that we can change, and all of those elements are going to be modifying the way this works. But overall, that's roughly what happens. So one thing we can do, for instance, is if we lower the stimulation levels, and we increase the firmness, what's going to happen now, let's go back and we run simulation. Since the furnace is really, really high, there's going to be like a cardboard. And you can see that it remains, really, really static, like, like a sheet of paper because it's just very, very firm. However, if we go all the way down to a furnace of one and we run simulation, it's going to start behaving a little bit more like silk. So you're going to see that we get a lot of nice, intricate folds all over our character. Now, you can see that there's collision, and that's something that we don't want. Like the clot is actually colliding with itself. We need to avoid that. How can we avoid that by adding a little bit of self collision? Let's do two samples of self collision and run the simulation. So now, the clot will not collide with itself. You can see that it in tries to collide with itself, and then it just stops because it detects that the object is close to that point. So this is the basics of the dynamic simulation system. There's not a lot of a lot of options here. Of course, we have a lot of shrank to expand liquefy, which are just things that change the general behavior of the thing. For instance, liquefy if you turn on liquefy, it will look as if it was going through water. So there seems to be like a fluid and this thing is kind of like sliding in this water. So if you want to create something interesting, you can turn on liquefy and you'll get this sort of like effect. So yeah, you can see how it's kind of like navigating like a current of water. It's not falling down, but rather like moving through a volume, right? Again, the most important thing that I want you guys to remember, because we're going to be using it quite a bit for the next couple of examples is that we need to check our simulation iterations and our gravity strength because those two things will help us check how intense or not the simulation is going to be. So you can see here with a high enough simulation iterations and a low enough gravity, it won't clip through our character, and it will actually land nicely on top of him. Now, this is not the only thing. Other than this, I'm actually going to give it one subdivision level to the clot so that we get a couple more, like, wrinkles and stuff. And you can see that it gets a lot more interesting. It now looks like a table clot, right? I think we can go with just one self collision. Let's give it that a try. There we go. That looks a little bit nicer. So you can see how the whole thing is just falling on top of the character when we're getting this very, very nice effect, right? Well, here's one of the magic things about this system. We are not only doing dynamics with this thing when we run the simulation. We actually have some cloth brushes, such as clot notch, cloth mop, cloth inflate, cloth pinch, cloth pinch trails, cloth pool, cloth slide, clot twister. Like all of these guys can create some very, very tricky things. For instance, this cloth Twister. Look at what it does. It starts like crumpling the cloth on top of each other. Remember, we can turn onside dynamics of division. And look how nice this looks. Imagine trying to sculpt this from scratch, it would take us quite a bit of time to get those very, very nice folds. So that's why they introduced this sort of system a couple of versions ago because they realized that even though sculpting clot it's not difficult, it will take some time. So by doing this dynamically, we can get some very, very cool effects. Another one of the brushes that I really like is this clot notch, which is going to give us some very nice like elements, and it respects the collision box. So in this case, he knows that the character is underneath this. So if I try to push it towards the character, it kind of hugs the surface of the character. You can see here me moving it through the arm and see how it just crumples together and creates this very dynamic and natural looking wrinkle. So if you ever need to create a crazy like bedsheet or something, there you go. There's a very easy way. Another very cool brush is this like cloth hook, which it's kind of like the snake hook. It's very aggressive. It will just like push the clot like very intensely. But you can use this to fold it on top of each other, like, move it to one side or to the other. And again, it's really aggressive, but it's really, really cool. We also have a move brush, which is a little bit or not a moo brush. It's called a transpose brush. It's this one transpose cloth. So if I select this transpose cloth, I'm going to go with my gizmo, and if I move the cloth, the cloth knows that it needs to follow the character, right? Like see how it's draping on top of the character. So instead of using my simulation to let this run, I can actually just move this thing down, and as you can see, it's trying to cover this character in a very, very nice way. Just be careful here because even though we're not simulating, we are using the same amount of simulation iterations and gravity. So if I do this really fast, you can see that I don't give SRS enough time to think about what's going on, and it just like clips it through the character. But if I go really, really, really slow, to give Cs enough time, you can see that we barely get any clipping because it's having enough samples or enough iterations to really know what's going on. So look at how nice this looks. Pretty pretty cool. So let's bring it all the way down. You can see it's clipping a little bit there because I'm going a little bit faster, and then we lost it. So yeah, be very careful with the speed at which you move this thing, so you get a nice effect. But there you go. If you want a ghost. There you go. The only thing we need to do is turn off Nick and we pretty much have a ghost. The great thing about this is remember, we're still a traditional sculpting. So at any point, I can go here. Right now, we don't have a a lot of geometry. Oh, no, you know, we're in dynamics of division. So I'm going to go in geometry. I'm going to apply this dynamics of division, and now I should be able to start sculpting this things. Let's make an angry ghost. And there we go. So if you ever need to do some halloween decorations and stuff, it's going to be very easy to follow this with dynamics. Now, in this case, I'm just going to check something. I'm going to use my clot notch. I just want to see if it even though Nick is hidden, it still respects the fact that Nick is like the collision box or the collision slider. So as you can see, if I start using the clot notch, I can start pushing the clot towards where Nick is. Now, be very mindful with something, and that is thickness. You do not, and I repeat, you do not want to use clot simulation with thickness because it will create a mess. It's very difficult for it to calculate both sides. So what if I wanted to keep on stimulating this guy right here? Maybe I want to add like what we're doing right now, the clot twister, and I want to add some twisters here. So, big wrinkles. Let's make it a little bit bigger. And I want to keep playing with this, but I want thickness, right? Like I want to see this thing be thick. Well, remember, first, if you just want to see the other side, you can just go to display properties and turn on double, and that's going to give you a nice, double side view of the whole thing. But if that's not what you're going for and you actually want thickness because you're treated painting or something, what you need to do is you're going to go into geometry. You're going to turn on dynamic self division again so that you get this very nice soft effect. And remember we have thickness here. And this thickness will work fine. So of course, don't go overboard, but you're going to be able to create thickness for your cloth and continue working with all of these things. It will be a little bit slower, as you can see here, because it's more like geometry that it needs to think about. But you can turn this off, like, work on what you want, and then just turn it on again and see how it looks. Okay? So that's it, guys, that's the basics of the dynamic system. We're going to be using this. We're going to do a couple of examples, and then we're going to talk about other extra little things that are important as well in regards to cloth. And yeah, hang on tight, and I'll see you back on the next video. Bye bye. 38. Sculpting a T Shirt: Hey, guys, welcome back to the next part of our series. Today we're going to be sculpting a T shirt, which is something very, very common that you will be doing for a character, T shirt, jackets, like normal shirts. There's a lot of things you're going to be doing. And we're going to be following a very similar process to what we did with the helmet. We're going to be using extraction, okay? That's probably one of the easiest ways to do it. So in this case, I'm going to go with this character. I'm going to press Control, Shift, click, and I'm going to select mask lasso. It's going to be a little bit easier. Actually, control, click, and we're going to use mask lasso. Oh, come on. There we go. It's this mask lasso, which works just like you would imagine like a lasso. So we're going to go here. And we're going to create the tissue for him. We have symmetry turn on. So as you can see, it covers pretty much everything that we want. Make sure we go there. Now, there's a couple of things that we can we can do for the mask before we do the extraction, which is going down here to masking, and we can actually say sharpened mask. And we can click it a couple of times, and as you can see, that's going to give me a nicer look on the overall shirt. Now, we can also control, start drawing and click Alt to get rid of some of the elements that we might not want or need. There we go. Now, this also depends on the topology of the character. You can see here actually has some very nice poly groups, but I don't want the shirt to be so low cut. So we're going to do this right here. We're going to go sub T all the way down here to extract, and we're going to extract this. Remember, with zero thickness. I really like doing this with zero thickness because it gives me a nicer result to extract. That looks good. Except. There we go. So it looks okay. But if we take a look at the topology, you can see that we have some extra topology that we might not want. So, for instance, we're going to press control shift t and height like those guys right there. So this is a little bit nicer. The neck is fine. I think it's fine. Okay. Yeah, it looks good. So now that we have this thing right here, I'm just going to delete hen to delete the little parts that we have there, and we definitely want to s mesh. Now, this is actually nice topology. We could work with this topology, but I think we could benefit a little bit from some smehing. So I'm just going to se mesh here real quick. And let's use half to minimize this a little bit more. There we go. We can also smooth out the detribor here on the neck to get a nicer effect. That looks good. Now, we go out of solo mode, or we turn on back neck, and we are going to, of course, turn on enough collision volume so that it recalculates or you can just click recalculate right there. If we were to simulate now, you're going to see this happening. And this is horrible. I remember the first time I did this is like, why is this thing inflating? Well, I don't know why, but by default, Sievers has this thing set to inflate at one. You're going to want to have that at zero. So when you run the stimulation, the shear will be hugging the surface nicely, as you can see right here. Now, another one of the problems is that the simulation is happening a little bit faster, you can see a little bit of clipping over there. So we could either increase the iterations, or decrease the gravity a little bit more, I think just increasing the iterations will be a good idea. And you can also see that this thing is falling down, which is not what they want, right? It seems like it's drooling, and it looks not flattering at all. This guy has a really nice body, so it would be nice if this was a little bit more form fitting. This is where the inflate or the contract buttons come into place. If you just turn on contract and you run the simulation, this thing is going to shrink, and it's going to look really, really ridiculous. So this is now what you want, but in case you ever need something like this, well, that's what happens. You deflate, you're also going to get this effect where it's going to try to deflate. It looks a little bit better, but it's not what we want. In this case, I do want to contract, but I'm going to turn off. I'm going to turn off in this case. Let me just remember, I'm going to turn off x and C. I'm just going to leave y, turn on. What this is going to do we actually no. It was C the one that we need to keep on. And we run the simulation. What's going to happen, is this thing is going to contract front to bottom or from front to back, sorry, and the shirt, as you can see, will give us a nicer result. So this is one way to make sure that the shirt is like form fitting the character very, very nicely. Now, remember, we can display if we go here to dynamic subdivision, and we turn it on. We can display a little bit of thickness so that the shirt looks like it's actually on top of the character, which is common. Let's give it a little bit more thickness. There we go. And one thing that I really like to do is while this thing is on, we can actually start sculpting the shirt. So let's start by using our cloth brush. So, It's going to be B, and it's this cloth move. And let's bring the cloth down a little bit. Remember, you want to make this with slow small steps. The rations get enough time to properly work. And then we can actually start moving this thing to create some nice wrinkles over here. Here's where reference really comes into play. So let me get some reference real quick here for you guys. Usually, T shirts will have this sort of, like, flow to them. Some of them are really like form fitting, but usually, you'll get this sort of stuff, right? Like when someone's wearing a normal t shirt like in a normal way, you're going to see a couple of bundling here on the armpits and a little bit on the hips. So that's the kind of thing that we want to get here in our scene. So I'm going to turn off symmetry. That's one of the big secrets about clot sculpting. You really want to turn off symmetry because if clot is never symmetrical, you're always going to get different wrinkles on different parts of the model. So let's start I'm actually going to change this to the C one. So cloth not So that we start nudging and creating some interesting wrinkles here. There we go. On the back on this area, you usually get some wrinkles as well because that's where our spine is and it's hollow, so it's not actually form fitting anything, so we'll get that effect. Pretty cool. Again, remember, at any point, we can go into our clay build up, go into our alpha, let's grab a round alpha. And if you want to add some more specific wrinkles, it's just a matter of sculpting. Now here, even though it might seem like I'm sculpting on the top side, remember that we are sculpting on this element right here on this low polis shirt. So keep that in mind. I mean, we could, of course, control D, give it one division. It's going to give us a little of a better look. If we turn on dynamics of division, we're going to be able to visualize the thickness a little bit better. But again, keep in mind that that's going to increase the poly count. So let's start adding some of the wrinkles here. He's really buffed. So usually when you have a muscle that's pushing towards, you're going to get this small ripples. You see this a lot in superhero characters. Now, one thing that I want to talk about, and this has to do with clothing in general, you're going to have three main things. Remember, we not only talk about the tools in sell of severs, we also like to share some of the information that you're going to be using everywhere else. So clothing usually has something called support areas like here on the shoulders, where things are going to be really, really flat because most of the volume is resting. Then you're going to have tension areas, which are all of these lines that you see here, where you're twisting one way or the other, and the cloud will tension and create these very nice wrinkles, and you're also going to have compression areas. So in the case of a shirt like this, the main compression areas are going to be up here on the armpits. So you're probably going to see a couple of, like, nice little wrinkles creating this sort of effect. And I had a teacher when we were learning about wrinkles and stuff. He used to say that wrinkles are, like a soup made out of letters, you know, when you're trying to guess what letters you're going to find. So you're going to find C wrinkles, you're going to find S wrinkles, you're going to find C wrinkles, L wrinkles, V wrinkles. So it's all about shapes, right? Like sculpting the proper shapes. And there's no better advice that I can give you guys than to get as much reference as you can whenever you're doing clothing because clothing is one of those things that really, really, really requires you to be quite mindful about all of the things that happened. So here, I think we're in a good position. I really like this basic cloth. I think I'm going to move. I'm going to use again the cloth cloth move to move this thing like a little bit higher up. Again smooth. I mean, slowly let's smooth out. There we go. So when you're happy with the cloud leave, you're like, Yeah, this looks good, but I want to add more interesting wrinkles. That's when you're going to apply this thing. We're not going to be doing any more dynamics because remember, now we have thickness and trying to do thickness, it's going to be really, really heavy for the computer, and it's going to give you some very awful results because it's going to be intersecting with each other. So again, I'm going to take a look at my reference here. Let me move this to the side, so I can see a little bit better. And I can see some big big wrinkles. So I'm going to start blocking in some of the wrinkles with my clay build up and I can see wrinkles like this. Now, here's where I would definitely recommend using back face masking for your brushes because you don't want to be hitting the backside of the shirt. Some people like to work with cloth as if it's completely thin, like just a thin layer, and that's fine. Just be mindful that it might look weird. If you're doing bakes for games and stuff, I definitely recommend you to give it a little bit of thickness. That's going to help a little bit more. However, there are certain things like scarves and bandages and stuff that you can get away with having like a normal traditional effect. Now, I'm going to go to my light box here. And if we go to our Alphas, sorry to our brushes. Remember, we had the stitch brushes that we used before. So I'm going to go here to the stitch brushes and we have this ones right here, which are a little bit more modern. Here, I am going to turn on symmetry, and usually we're going to have like this. I'm definitely going to go into stroke, lacy mouse and increase the lacy radius, so I have a little bit more control. Usually in t shirts, you're going to have a line over here, and then at shoulder height, it's going to go down here. There we go. And then you're going to have one line when see line going all the way through the middle. Just take a step out and take a look at your shirt and you're going to see that it has or it follows a very similar pattern as what I'm doing right here. Usually usually, where you have a seam line, that's where you're going to have some of the small wrinkles that are going to go into the main form. And wrinkles. We talked about wrinkles before when we were doing the miniature. Wrinkles are one of those things that you are going to have a pit like a peak and a boy, so it's not only like carving in, you're also going to have volume coming out of the volume. Like here, let's turn off symmetry again, and we can start adding some big lines going to different sides and smooth those out. There we go. It's looking cool. I mean, our good old neck here is getting a nice makeover. Now, we can go st the to like a lower subdivision, and we could it's a little bit heavy right now, but we could still use S modeler to add a little trim to the whole thing, if that's something that you're going for, or if this is going to be like a damaged shirt, we can just start adding holes and stuff. And all of this, of course, is going to have to be reopologized and baked into the final element or the final model. But it's a really, really cool way. I've done a lot of clots. I was like I was working for a little sombeGame a couple of years ago, and we were doing a lot of story clots, and this was one of the work flows. We would just cut things out because all of these guys would be baked later on, so we will be doing that. Even here, you can just like cut a hole. Here's where I would turn off backface masking so that we actually push both sides of the element, and you could cut a hole into the element. We're not actually cutting a hole. We're just like displaying the underlying geometry. But if you bake this out, that's going to be skin or that could be skin if you painted so, and you get a very, very nice effect. So, yeah, I mean, this is pretty much it for this one, guys. In the next video, we're going to give him some pants because he definitely needs some pants. I'm thinking about whether pants or shorts. It's probably going to be pants because I want to show you a little bit about the compression, which is another one of those things that's really, really important in cloth sculpting. So yeah, hang on tight, and I'll see you back on the next one. Bye bye. 39. Sculpting Pants: Hey, guys, welcome back to the next part of our series. Today, we're going to continue with sculpting pants. So let's get to it. Let me just sorry. I always forget to turn that off. There we go. So we're back here with our good friend, Nick, and we're going to be sculpting pants now, and pants are one of those fun things because they have something that T shirts usually don't have, which is compression. Now, One thing that I did forget to mention is that demi standard is actually a very, very nice tool as well to play around when doing wrinkles. And the reason is, you're actually going to be able to get this very nice iron wrinkles. And if you press alt and do it negatively, like if you do a dimini standard negatively, you're going to be sharpening up what's the word the wrinkles? So you're going to be able to create this sort of effect where it looks a little bit more like chisel marble. So if you want to go for this, very old school traditional super wrinkly shirt, then that's a method that's really going to help. Now, I'm going to go back to Nick. Very important to remove the mask. You can see that the mask is still there. So we need to remove the mask. And now, in this case, I think we can use like a traditional like box max. We're just going to mask everything here on Nick's lower body. And we're going to do the same process. So we're going to go back to geometry or sorry, sub T. We're going to go into extract at zero density and we're going to hit Accept. Now, this one actually has a very nice topology. You can see that the topology for the pants is actually very closely following what we want to do. So in this case, there's really no need to dynamish anything. Rather, I think it's just a matter of, like, cleaning this up. So what I'm going to do is I am going to go into control shift, which is selection, and I'm going to hide the upper element right here. So all of this lines right here and all of this front lines right here and right here. There we go. So now, as you can see this topology for this thing, it's perfect. It's perfect for pants. So I am going to of course, go and delete hidden so that we remove those hidden geometries. And now, it's just a matter of going back into the dynamic section. There we go. So the topology is looking good, right? And it works fine. So we should be doing this nicely. Now, I'm going to turn off the geometry of the shirt because I don't want to take that into account when we're doing the actual dynamics. I'm going to recalculate here, and let's turn off the dynamise. And if I were to run the simulation, of course, the pants are going to be falling down, right? Like you can see how they're slowly falling down. The iteration seem fine, but it's falling down. And I don't want that. I want to keep the pants where they're supposed to be, right? So we're going to go all the way back here, and I'm going to use my move cloth here to push the pants up a little bit. I think they're a little bit too low. So let's push them up. There we go. That's a little bit better. And now, one very cool thing about dynamics is that they actually respond to masks. So if you mask the stop part and you run the stimulation, all of the lower parts of the pants are going to be simulating, but not the upper parts, okay we're going to get this. See how it's kind of like falling down, but it's being kept up thanks to the mask that we have right there. Now it's contracting a little bit, which I actually don't want. I'm going to turn off contraction, and let's run the simulation again there we go. So that's going to give me some more baggy pants. And at this point, it's more about sculpting, that it is about dynamics. Yes, we could use, for instance, let's go B, let's go like cloth notch. And we could start like nudging the pants a little bit to create a couple of, like, wrinkles and stuff. For instance, there. I'm going to mask out the button part, and let's not the cloth over here as well. In this case, I do think we need one more level of geometry. So I'm going to go to geometry and give it the one level. There we go. Let's lead lower, just in case we need to do anything. And now we start moving. You can see how we can get this sort of very nice natural wrinkles. Let's move a little bit there. Remember, we're still working with a very traditional just like smooth or a thin layer. We don't have any sort of thickness just yet. Now, there's one very nice brush that I like, which is the inflate brush inflate. Which is really strong as you can see, it's kind of like inflating the cloth. But if you reduce the intensity quite a bit, you'll get a little bit more volume on your cloth. So especially if I want a little bit of bag genes right here, we can start pushing this up. Let's soften this up as well. It's a little bit too weird. There we go. Now, here's where we're going to take a little bit of a detour. Not a detour, per se, but I'm going to show you one of my favorite artists, traditional artists, which is called George Prichman. And George Prichman was a very famous guy a long time ago. He's long past. And he did a lot of studies about cloth. And this is traditional, by the way, this is traditional clothing like effects. This is the guy that I learned detention points and all of those things from. So if you want, you can get this book, which is called drawing to drape figure by George Pritmn. And it's really, really good because she shows you a lot about what are the things that you should look for. Now, unfortunately, genes were not the same way they are right now. So I'm going to look for gene wrinkles. Reference. And we're going to take a look at some of the wrinkles here. And this is what we're looking for, right? Whenever you look for reference, by the way, this is something that, for some reason, a lot of people make this mistake, they will go into three D stuff like this one right here, and this is not a bad three D model, but this is not a real model although it might be like, photogmetry. The thing is, you always want to look for this sort of thing where you're seeing, like real reference from real world so that you can copy this into interior characters. So I like this ones right here because they're going to allow me to show you some of the cool stuff that I mean. And again, as I've mentioned, one of the secrets about cloth sculpting is asymmetry. So you definitely want to turn symmetry off, and you want to start like adding the big wrinkles that you want to have here. Now, this is very important. See how when I do this, I carve into the body. It's very important to keep your body's character in era or in your subtle because you want to know when you're pushing the cloth too far in. Sometimes people start sculpting things and it looks really good. But if you think about it, like the light couldn't be there because there's no space for it. So that's why it's very important to keep your model, even if it's just like a cylinder, even if it's not sculpted, just to have a little bit of a reference of what you're going for. Now, it's not rare. And that's exactly what I'm going to do here with this one. It's not rare to actually dynamish this thing. Of course, we're going to go quite high and dynamish. Let's hide this just a second. There we go. So we're going to go quite high. And we can dynamish this pants so that when we start working on all of the effects and all of the wrinkles and stuff, we can get a very, very nice effect. I know we already had some nice, like What's the word? We had some nice topology before we did this. But doing this will allow us to nicely sculpt all of the wrinkles that we're going to still miss here. And again, eventually, if this guy was meant to be for, like, a vide game or like a production, we would do re topology and just create a nice low poly version of the pants. Some people had asked me, do you always do rtpology hy polys and bakes? No, not always. If you're going to be doing a feature film, think about, well, recently Destiny released canto, which is a very nice film. If you haven't seen it strongly recommend that one. And there's a lot of cloth simulation in there. So whenever you do that, you're not actually going to be sculpting cloth. You're going to be simulating the cloth with other types of software. In Maya for instance, we have cloth. There's another software called Marvels designer, and all of those software will allow you to get some very, very nice dynamic, movement and realistic effects on the cloth. This, of course, has its own like preparatory software and plug ins that they use to generate all of those effects. But yeah, for big productions like those ones, you're probably going to be doing some of that. So as you can see, nothing too fancy here. Is just a matter of using, again, clay build up to block in the general things. Now, here's what I mentioned about the tension points. From here, we're probably going to have some big wrinkles coming down because there's a lot of tension from the groin area and from the hips all the way down. Then here on the knee, this is where we're going to have what's the word? Oh. Control. Well, what happened here. I'm not sure what happened here. This is really weird. What the hell? I think it changed something, but I'm not sure. Okay. Let me try to fix this guy. I'm not sure exactly what I changed. But something stuck here. So I'm going to save this real quick. And I'll be right back. Give me just 1 second. There we are. I'm not sure what that was. I probably pressed something that flatten everything. But it's really weird. Anyway, so I was mentioning that this is where we're going to get all of the tension points and where it is important to start pushing things in and out of the different profile. One of the main things about about cloth is how it changes the silhouette of your character. So one very nice trick, and I haven't mentioned this one before, but there's this flat color right here that pretty much gets rid of all of the lightning information. There's not going to be any light or shadows, so it's going to be just a silhouette of your character. So that material is really, really good whenever you want to check out whether your silhouette is like good enough or not, like, extreme or not of not. So, for instance, I'm going to add like one big wrinkle over there, and you can see dad is definitely going to change the silhute I'm going to sharpen it up a little bit, make sure that we're not carving into the body. We talked about that one a little while ago. And yeah, just go to keep on adding stuff. So for instance, on this leg right here, we could really create a nice little wrinkle here, like a big wrinkle. Changing the form on the knee, we're usually going to get compression. Now, Cloud is one of those things that, again, you can spend an eternity sculpting until it gets to like a magnificent level. One of my favorite sculptures from traditional art is called called Bernini. So you probably have heard of him. He's a classical sculpture. And the Bernini sculpted one amazing piece of art, which is this one right here called I think it was S and a nymph for something. And it's amazing what he could do with just like marvel. Like imagine carving this sort of, like, intensity of cloths and folds with just marbles just amazing. This one right here. Look at this. It looks like this thing is thin and light, right? But even the pressure of the fingers is amazing. This guy was a genius, of course. So that's the kind of thing that we can do, of course. Like we can spend as much time as we want sculpting cloth. The most important part is following the principles that I talked about, we're going to have like tension points coming from the top of the element. We're going to have compression points, this one's right here. And then we're going to have a couple more compression points like right here. Cloth is one of those things from my personal experience in video games where players don't really pay too much attention unless it's like a very important part of the character that they're playing or they're going to be using. So, for instance, if you're doing like someone who has a cloak and the clock is going to be animating and moving, then you probably want to take a lot of time making sure that clock looks amazing. However, if someone's just wearing a T shirt and the wrinkles are not following the character perfectly, That's fine. Like people really don't care too much about that because right now, the technology is not up to the point where we can simulate all of the cloth like moving around with the wind and everything in real time for every single character. So there are compromises that you can do whenever you're sculpting cloth. And again, as with everything, the more time you spend on something, the nicer it's going to look. Now, for this one, one of the things that I want to show you was usually the pants, you know, have the sort of, like, border on the top, and then of course, the little place where you sip them. So if you are going to do pants or any sort of clothing, one of the best advices that I can give you is try to make them in the same way that they would do the cloth in real in the real world, okay? So that's probably one of the best advices. And not only for cloth, that's actually a great advice for every single thing. Whenever you don't know how something would be made in the real world, or in three D, just think about how they do it in the real world. So I know that here, for instance, I'm going to mask this out, and we're going to have this sort of shape, the little shape that has or covers the sipper So I know we have something like that. And I also know we have the pockets, so we can already like mask out like the border for a pocket and a pocket over here. And you could try to just sculpt it from here. But if you do this, I mean, it's not going to look wrong or bad, but it's going to look like a little bit off. So the best thing you can do is actually extract the shapes. Now, there are and I think the XMD toolbox has some seams, which are really cool. So I'm going to go again here into file open XMD toolbox. There we go. And to make sure this thing gets to green so it knows that it's connected to severs, there we go. And if I look for seam or cloth. Here we go with a cloth, cloth hook. Those are most of the basic There was one. Where is it? Stitches Insert stitch. You can insert the stitches. Not exactly what I'm looking for right now. Where is it? Where is it? Let me just give it a quick look and see if I can find it. Mm mm mm. No, I don't see it. But there are some brushes out there that you can, of course, look for, and they will give you this very nice cloth seams stitching. In this case, we're just going to just like the traditional stitch. Pants usually have stitch on the side. Again, let's go to stroke, Lacy mouse increase the lacy radius quite a bit so that we follow it. Here's where we would definitely increase either the resolution for dynamis or going to subdivision levels. Okay. So there we go. And usually pants have another seam light on the center. I'm actually going to turn on symmetry now. And let's do it on this side. That might be a little bit too big, like, a little bit too stylized, but you get what they mean. Of course, if you want, you can get the super line just using this little thing right here. And now let's go back to the shirt and turn it on. And here is where both elements are going to start interacting with each other, right? So in this case, I think I want the shirt to be on top of the pants. So I'm just going to go with my move brush and just move this on top. The pants are way too far out. So let's go back into the pants. Push this guys in and push the glutes out. He's got some interesting glutes out there. Okay. There we go. Let's go into the shirt, and again, just bring it out. As you can see, our little guy right here is starting to look quite nice. We're getting a very nice and complete, like, a wardrobe for our character. And again, there's a lot of things you can do. You can try doing gloves in a very similar fashion, like if you were to mask out like this guys right here, we can extract them and create some gloves. You can do I don't know, like a hoodies of things. I've seen people do amazing dresses and stuff. But most of them follow the same pattern. You use the dynamics to block in the general shapes, and then you go in and with your traditional like sculpting techniques, like what we're doing right here with our clay build up and dynamic stuff. We just start sculpting things until they look as nice as possible. Okay. So this is it for now, guys, for this one. I'm going to go over one more video regarding clothing, and then we're going to jump onto Chapter number eight, which is poly pain, which is textures. I think you guys are going to really really like that one as well. We're actually going to be coming back to this guy eventually. But yeah for now, this is it and I'll see you back on the next guy. And the next one. Bye bye. 40. MicroMesh: Hey, guys, welcome back to another video in this Guth in this Chapter six, we're going to go with Micromsh now, and we're going to be talking about another method before we jump into micromsh. So I want to add a little hooty to Nick right here, but I want to show you a new method to create an object or any element when you have a character. So sometimes when you have a character, just want to trace or kind of, like, find the exact same distance that this guy has on the head. And I just want to create apology from this, like, redraw topology. Some of you guys know may know this. Some of you guys may know this as topology inside of Maya or blender. Well, we do have topology inside of Seaberg. However, it's a little bit finicky. I'm going to show you here we go. So first, we need to go into subtle, and we need to append a Cspere. Now, you might be wondering why Cisphe we haven't used the Csphee in a while, and you would be right. We need the Cspere because the Cphere is the one that's going to be doing this sort of, like, change. I'm going to move it and scale it so that it's inside the head. It can be really small. It doesn't really need to be like big or anything. It's just per to the other spheres, like a placeholder. Then we need to make sure that this sphere is right beneath the object that we want to reach apologize. So in this case, it is the head of Nick. So I'm going to press this guy a couple of times, and now we're on top of Nick. I'm going to press to going in to draw mode. And now, if I start going out, sorry, I need to go all the way down here to topology, and I'm going to hit this option that says added topology. Now, if I start pressing, I'm going to start adding points along this line, which is exactly what I want to do. So I'm going to turn on symmetry, of course, symmetry, there we go, and we're going to start here, and then we're going to go to the center. There we go. I'm going to click outside. Very important to click outside. Every time you finish drawing like a point, you're going to click outside. So I'm going to go one, two, three, four, five, six, seven, eight, nine, and ten, click outside. And now I need to combine this. So I'm going to go to where the points are, which I'm not seeing. I should be seeing them a little bit more intensely. They'll go one, two, click outside, one, or one, two, click outside, one, two, click outside, one, two, click what's not there. There, there, click outside, there and there and click outside. And as you can see, we're creating the topology that we would normally need. At any point, you can grab the points and press W and move them around. So if you need to fix some of the topology proportions or move a couple of things around, you can very easily create this sort of like a net. There we go. Now, the only problem with this is, as you can imagine, it's a little bit time consuming. So I'm going to have to do the whole head right here. So that's just a way to do it. Let's go back here to Q. And I'm going to go one, two, three, four, five, six. And then one, two, three. Well, one, two, three, four, five, six. There we go. Now we should be able to go to the points. So point. And so weird. Usually, you get a better indication of where the point is. There we go. In this case, it seems like it's the little red dot. There we go. I feel like I'm skipping a point there. And some of you might be wondering, do I really need to do this when I want to read apologize. And yeah, unfortunately, it's one of those things that needs to happen. Now, if you make a mistake like here, for instance, where I'm not really sure what's happening, I can go back to Q, and if I press, I can just delete all of the points that we have here. There we go. So I'm going to press W, move this one around Q again. I'm going to do one, two, three, in this case, we can close at four. One, two, three, four, and then one, two, and one, two. Why do we need to click outside of the object? Because otherwise, you're going to get a really weird thing where the points are going to be connecting from the previous point to the new point or you're creating, and it makes a mess. So just get a habit of doing that. I'm going to do one, two, Tree reemeber when we see the green dot, four, five, six, that means that we're in the symmetry, seven, eight, nine. There we go. Okay. And we're going to follow this one. One, two, three, four. That's a little bit easier to follow because I can see the angles. Five, click. See that we line that we have right there. That's a problem. So let's erase some of this and let's just revealed that, click outside. Okay. Here's what I'm going to do to work a little bit nicer. I'm going to go to Nick real quick, select the face and then turn off everything else. And that way, when we are working on the Cape right here, it won't be as complicated or as difficult. There we go. See that? That's also a problem. We need to fix it, click. There we go. One, two, three, four, Outside, click, click click. There we go. And then we're going to go one. Oh, see that? That's what I meant. So that's why you need to click outside. Otherwise, you get the connection from the previous point, and that's not what we're looking for. So we go there. We go there. Let's keep going. Middle line. There we go. Mm, I'm going to jump straight there. And that's my mid section. Now, could we get a clean result from ser measure? Probably. Since this is not a very complicated part of the body, but sometimes you will have to do a little topology. So that's why I want to make sure to share this small technique. It might seem a little bit tedious. It might seem a little bit tedious, but it's just part of it. There we go, way Okay. Topology. Add the topology. There we go. Let's keep going now. We're going to go to the side, one, two, three, four, five, six, seven, eight, nine. There we go. And again, click click one, click click two, click click click click four. Click click five. I feel like Dora, the pler counting with you guys, but I really don't know what else to say. This is usually a very tedious process. So it's part of the thing. So we're going to go here. And eventually, we're going to have to change the topology like right about here, see how we're modifying the points here so that they flow in a nicer way. This is the kind of thing that we can't really do if we are using ser measure because ser measure will do whatever S measure thinks is the best thing for your model, and that might not be exactly what you need on your particular acid. So we go here, here. Now, here, for instance, I'm saying that we're missing a little bit of divisions, it's the squares are getting a little bit bigger on this side. So it might be a good idea to just hit Q, and in the same way that we add a C sphere, we can just go and add one pair of cpes right there. And as you can see, they try to follow us nicely. Let's move them others Okay. Okay, there we go. Let's just reveal here a little bit. We're going to do Q, click. It's going to be from here to the middle and then there from here to the middle and then there and there from here to here. There we go. Now here's where we're going to have our crazy polygon. We're not crazy, but it's going to be a little bit different. I have one. And then even a little triangle there, it's not wrong, but I think we can make this just flow right there. Careful there because we're getting a weird effect. So again, one, click, click, click, and click. That last one is having a couple of issues. Let's go to the center and the There we go. Now, as you can see, we have a nicer topology. Now, I am going to move it around because one of the things that I want to make sure is that we have as nice as possible here. I'm seeing a triangle that's an angle right there, so let's fix this by just making this triangle. There we go. And unfortunately, we don't have in Maya, like a relaxal or something to clean up the geometry a little bit. But this should be good for what we're doing. Now, to convert this to actual topology, I can't just like if I just say edit topology right here in dynamic solo, this is the topology that we have, but we're not creating anything. Remember how we created things with dynamish or with the C spheres. We had to create adaptive skin. But if I do an adaptive skin, it's actually going to convert it into a dynamish which is something that I don't want. So you don't want to do that. What you're going to do is bring the density all the way down to zero, And the dynamic resolution to zero. And if you preview, now you're going to get this. So I'm going to make the adaptive skin, and you're going to see that up here, we're going to have this skin in C sphere, and that's our little effect right here. And now, I'm going to go back to Nick. You can delete the C sphere if you want. In this case, I am going to delete it. Bye bye. And let's dynamic solo again or out. And we have good old Nick here with his pants and everything. Let's press Control Shift to see everything again. There we go. And the only thing I need to do now is say a Pen we're going to pen the Skin C sphere three D, which is right there, as you can see on top of him. Now, here's where things are going to get fun because now we're going to be doing the hoodie. All of this to do just a simple hoodie. But again, this is just another method that I wanted to show you on how to generate new geometry from a character. So in this case, we are going to be using dynamics of division, and we're going to be using thickness, but not on him. Of course, we're going to be using thickness on the Hoodie itself. So on the hoodie the little cap that we have there, we're going to activate dynamics of division, and we're going to add thickness. There we go. Now, of course, that's way too much. We're going to change the offset to positive hundred so that it's going always like to the outside of the element. And let's just keep playing with the number until we get something that looks kind of nice. Let's go 0.005 0.00 25. There we go. I think that's a little bit better. And now I'm going to introduce you guys to a new tool that we have here inside of the dynamic subdivision thing, which is called a micro mesh micropo micropo is a way that we can use or it's a little tool that we can use to replace each specific square that we have in our dynamic subdivision with another kind of mesh. And this is really, really helpful to create chainmail to create needed surfaces, to create what's the word Oh, if you were doing like a basket or something, instead of doing everything like each fiber at a time, you do a general shape, like what we just did, and then you replace it with any of this thing like this, for instance, needed element right here. And what's going to happen, as you can see, is now each specific square is being replaced by a needed surface. However, and this is very important. It's not replacing the new squares, like the smooth squares that we have. It's actually replacing the original squares, and right now it's not working like what we want, right? So I'm going to turn this off. And what I'm going to do is I am going to apply this. Did I change the subdivisions? No, I'm going to apply this thickness, and then I'm going to divide this. I'm going to press Control D and control D to have a nice subdivision. Now we can turn on this one. Of course, we don't need thickness anymore, and we can turn micropolyon. And as you can see, we're going to get this very nice effect where it looks like we're getting the actual knitted pattern that we want. And the needed pattern will try to match the flow of the elements as nice as possible. You can click this one line edges and sometimes sometimes the rotation will get exactly what you want. But this will depend on your topology. So that's why the topology is super super important. Let me go back here. This one was looking okay, but as you can see it is going in a different direction. You definitely want fit and weld will fix the points with each other, so it will combine both of the points. You can change the scale, of course, of the needed surface, which in this case is not something that we want. The mesh is composed of multiple, let's delete the subdivision. So let's delete lower and let's try aligning them. There we go. Now, as you can see, when I align them, everything is following the proper direction that I wanted to follow? Let's go back to scale of one, and we're starting to get this interesting looking effect. Now remember, this is only a preview. This is the actual geometry that we have. I'm actually going to give it one more subdivision level. Let's delete the lowers and turn on micropolyon. So this one looks a little bit closer to what I'm looking for. And in a very similar fashion to what's the word to how everything else works, at any point, I can just start moving this thing around and changing the way this works. So right now, this doesn't look like a hood. It looks more like a chain mill thing. But if I were to start like pushing this thing around and adding like wrinkles and stuff, you can see how this starts looking a little bit more like a hoodie. Now, when we change the scale of the faces, the scale of the micromsh will change. That's why it's very important to try to get the proper shape from the very beginning so that when we're doing this sort of thing, everything looks a little bit nicer, okay? So one of the big rules about micromesh whenever you're using micro mesh is you want to try to keep all of the sizes of the squares as close as possible so that when we apply this texture because pretty much like applying a texture, it does not disturb, because if we have some really long squares, see what happens, it will try to apply it, but it won't give you the same result as what you might expect. But, yeah, I mean, this is pretty much it for micro mesh. Like, I really like using micro mesh to create, like chainmail and stuff. Like Let's turn this off, for instance. And let's say we want to scall the Hoody a little bit more. So I'm going to go Control B, control C, and we can just start adding a couple of, like big wrinkles to the hood maybe even like a border here. Let's soften it up. If you do this, if at any point, you're doing this sort of, like, construction. Let's break symmetry, for instance. And and moved the hoodie, like, slightly off. There we go. We're just using a little bit of clay, build up here to again, change the form of the hoodie, give it a little bit more organicnes in general. Now, the hood looks a little bit better, we can again turn on micropoly and it's going to look interesting. However, you are going to see that certain areas might not look exactly like you might expect. But that's pretty much it. Now, if you do want to convert this geometry into actual geometry, it can be done. However, it will be very, very heavy. Some people like to use this for normal map baking or for tree D printing. The only thing you need to do is, again, just apply. Now, as you can see, we have 1.1 34 million polygons and that's giving me all of the micromsh that I can have over here. And again, this is a really, really handy technique. Let me show you here with, like, a sphere. So I'm going to go here to this sphere tree D. If we want to do a chain mail thing. Let's make this a poly mesh three D. We can go again, dynamic subdivision, turn micropolyon. And when you turn it on, you get this and let's say we get this chainml this chainmail linked. And there we go. We have chainmail. Like every single square on our object has been replaced with a chainmail pattern. And now, if this was like an armor piece or like a shoulder pad or whatever, you would have this effect. And if you apply, of course, all of this information, 2.5 millions, it's a lot, of course, but all of this geometry will be now on your character on culture. So micro measure is super super cool. You can combine it with a small method that we saw at the beginning with the topology. You can do it with er measure, you can do it with anything that has clean topology. Remember, just remember this. You need to have clean topology to get the best out of this. So that's it, guys. Small chapter this time around. This Chapter seven is just a little bit of a wind down, just going over some important tools before we jump onto some of the main things. So Chapter eight, we're going to be focusing on poly pain. We're going to be texturing a very cool character. I'm going to be showing you a little bit of color theory and how all of this works together. And then Chapter nine, it's going to be just some I call them specific tools, tools that might not be used all the time, but they're really cool, and you should definitely know them. And finally, we're going to get to Chapter ten, which is going to be our alien project. Very, very cool one, where we're going to be applying every single thing that we've learned so far. So, hang on tight, and I'll see you back on the next one. Bye bye. 41. Colour Theory: Hey, guys, welcome back to another video. In the series. Today, we're going to start with Chapter eight, basic color theory. And believe it or not, we're not going to be taking a look into series just yet. We're going to be talking about a little bit of color theory, because we're going to be using this for the creation of our characters or the paint of our characters rather. So color theory is a very interesting topic. Of course, this ten, 15 minute video won't be enough to cover every single intricacy inside of the color theory, but I just want to give you guys a quick rundown of why it is important and why you should study it and and how we're going to be using it for our own benefit. So the first thing that we need to understand is that there are two types of color theory. In school, we're usually taught this thing called the active model, which is red, green, and blue. We combine No, sorry, it's not actually that one, this one. The red, blue and yellow. We're taught that this are like the primary colors, and that by combining those colors, we can get pretty much any other color in the color wear, right? Well, The thing is, in three D, we're actually going to be using the RGB method because we're working with light. Our monitors are screens, they emit light. So the way that color behaves in a monitor is different than the way it behaves with traditional paint or in the real world. So we're going to be using RGV or mostly in RGB when we talk about our colors inside of the screen. Now, color has three properties, and this is probably one of the most important and at the same time, one of the most confusing things for people. The properties of color are as follows. Let me look for, like, a nice color window we can use, though, because I don't see any. Huh. Okay, let me just look for it. So the three properties of color are hue, saturation, and value. Those are like, again, the three things that every single color that you can think of has. Hue is what tone or what color you're actually talking about, yellow, green, red, et cetera, et cetera. Saturation is how much color there is on the color. Do you have full saturation where the pigment is extremely, extremely like visible, or is it, like, very faded going into, like, whiteness. Finally, the value is how bright or dark that color is. So every single color. If you take a look we do have Serah. This is the character we're going to be painting. If you take a look here, every single color is in here. We have the hue on the outside, which is going to give us our color. And then here on the inside, we can go from saturated to desaturated and from light to dark. So all of the color properties that a normal RGV spectrum has are going to be right here. Okay? Now, The reason why we need to talk about color theory is because colors play with each other. They generate things that are that are called contrast. They generate triads, they create groups of colors, and if we know how those groups generally work, it's going to be very easy to create amazing contrast and amazing compositions in our scenes. So the color wheel is usually make this way. I don't want that. Like this. Let's go. So this is the color wheel. This is how it's usually range. And on the three corners or like this three points, we're going to have our primary colors, yellow, blue and red. The ones that we are taught in school. These are called are again, primary colors. Secondary colors are all of the colors that we get when we mix those together. So yellow and red will give us orange, yellow and blue, will give us green, and blue, and the red will give us violet. And then tertiary colors are the ones that we get from mixing a primary color and a secondary color, which is this blue violet red violet, red, orange, ello orange, yellow green, and blue green. So these are like primary, secondary or tertiary colors. This is very easy to understand, I think, you don't need to be a mastered color theory to understand that we have all of this, like properties. But there are a couple of things that are really interesting. And this is this thing right here, which is called a color scheme. Okay? So every single time that you are working with colors, you're going to be picking different tones. And depending on which tones you pick, you're going to be following one of these schemes. One of the ones that I like the most is analogous, which is when you use colors that are really close together. So, for instance, you can paint like a banana with this color, this sort of yellow color, and then paint the shadows with this nice green color and paint the lights with this, like, warm orange color. And you're going to get an analogous composition because all of the colors are going to be playing nicely together. It's like having members of the same team, right? Because they're really close together. Another very common type of color scheme is this thing called the complementary color. And there's three main complementary colors. You're going to grab your primary color color, and the one that's in front of it, is going to be it's complimentary. So yellow has, of course, purple, Um, blue has orange and red has a green. Okay? So the easiest way that I can remember this is when I think about green and red, I think about Christmas. Christmas, you always have green, red and gold. So, you know, the green tree and the red spheres, that's a very common, like, Christmas thing. Blue and orange, I think about the Scartas, which is this, It's from Kellogg, this brand of flakes, and you get this tiger. So the tiger is orange and the box is blue. So you're going to have that. Other people think about the traditional, like, fire in the water kind of thing. So that's a very, very common complimentary color. And finally, yellow and purple, which is a little bit weird, I think about the warrio. Again, that's the easiest character that I can think of, and it always reminds me that that's the last complimentary color that we use. So yellow and purple. Now, why are these guys important? Why is the complimentary color important? Because the complimentary colors are the colors that are the most like Farther apart from the one that we're selecting, so it will generate the most contrast. So red will look the reddest when it's close to green because green they will complement each other and they will bring the redness and the greenness of both colors. So when you have complimentary colors, you're going to have a really, really intense contrast and colors are going to really pop out of the screen. So that's why people use them. Of course, you're not going to use 50 50, but let's say you're doing like a green goblin and you're going to add like red eyes. Those eyes are really going to pop because they're going to be complimentary to the whole skin tone of the character. Split complimentary is a little bit more advanced. You grab your primary color and then you select the two ones that are in the complimentary. That's the side of the complimentary. So it's a little bit more it's not as intense because you kind of soften up the contrast, but's still really good. Triad very common, again, red, yellow, blue, like burger king, for instance, they use this three colors in their logos. And you can grab this little arrow and pretty much move it anywhere, and you're going to get different things. So that's like a basic of the color of the color wheel and how we're going to be using it to our advantage, okay? Now, another thing I want to talk about is a little bit of a painting technique. So this has to do a little bit more with miniature painting. So, if you've ever seen the things that people can do with miniature paintings, like for D&D and stuff. There's some amazing things out there like this kind of stuff right here. And we're going to be using some similar techniques because it's a very similar process to what we're going to be doing. Now, we're not going to go as styles as this guy is right here, but there's three main things that we need to think about. And that is the base color of the object, the light that hits the object, you can see the highlight here, the white rain light that we have on the on the cloak, and then the dark, like, shadowy area. So we call those highlights, and we call those washes, when you add the shadow on the that's one way to do it, of course, when you place the paint inside of the crevices of your object. So we're going to be using some of those similar techniques. And now it's time that I introduce you to the project that we're going to be working with, which is this character right here. This is a character that I did a couple of months ago, and that's supposed to be a tiling from, again, Derson Dragon. So it's like a demon person. He's a good one. He's a good guy, though. He's trying to get rid of his past. And we're going to be using him as our A dummy to paint him and create some amazing amazing tomes. Now before we jump onto the actual painting of the object, I need to teach you how painting works here inside of Sievers. You can see that this is a really high level of sculpture. We are at 3.7 thousand 3.7 million points. So it's quite dense, which is one of the things that we need for this to properly work. We need a lot of resolution for our paint to work because the way this works is as follows. Let us grab one sphere right here. And make it a poly mesh three D. The easiest way for me to explain this is as follows. I'm going to change this. I'm going to get rid of Cat, and I'm going to turn RGV. Now, I'm going to go into color, and I'm going to say feel object. So now what just happened is I feel this object with this white color. So if I change the color now on my little color wheel over here, you're going to see that nothing happens on my sphere, which is exactly what I want. Now, if I select like a red color and I have RGV turned on with RGB intensity set to 100, when I start drawing, you're going to see that each, each vertex of all of the faces that I have, will get this nice red color. And this is why this thing is called poly paint? Because it's not painting a UV map. It's not paint kitting a texture. It's painting the actual birdy, okay? So if I were to give this more divisions, control D, control D, then my paint is going to look even better. You can see how smooth my brush looks now because we have more points. So that's one of the first thing that you need to remember about poly paint. The more polygons you have on your object, the nicer the poly paint is going to look. Now, can we transfer this poly paint to a traditional texture map to use somewhere else like in Marmsd on Real or Maya. Yes, we can, and it's rather simple to do. However, you will lose some quality. You will never have the same quality that you have a pixel than what you have on a vertices, right? Like if you have a 10 million polygon and you have 10 million vertices colors, it's going to be way way nicer than a four K map, for instance. There are some technologies. One of them is called P text. It's a little bit more advanced. We're not going to be covering it, but there are ways in which you can actually texture objects without UBS and just texture directly onto the vertices. However, I would say 99% of the industry uses UB maps, and that's what you should be learning as well. So that's the main trial. Now, in a traditional like painting, there was this show called Mask off or face off face off. And I really like this show because it was a creative show where they had to do traditional makeup artists and create like creatures and aliens and stuff. It was super super impressive because they had very little time to create amazing stuff. And one of the tools that they used the most was an air brush. So you probably guys. Some of you might use an air brush. I mean wanted to try one myself, but they're a little bit expensive, and I really can't justify buying one of the nice ones. But airbrushes allow us to control the flow of the paint, and they do this very, like, mist like, process, right? So instead of having this very harsh effect like this, like a line, that's going to be very obvious, it's just a line, we're going to build our standard brush so that it more so that it closely resembles an air brush. So I'm going to change the stroke to color spray, and I'm going to change the Alpha to Alpha zero seven, which is dots. Now, when I do this, as you can see, this is going to look a little bit more like a brush like an air brush. We're going to get this very, very nice effect. Now, the color spray has a nice little setting that we're going to be using to our advantage, which is called right here, it's called color color intensity variant. So if I change this, if I bring this all the way up, I'm going to get this clown effect where I'm getting a lot of different points and a lot of different tones. And if I keep it low, like, let's say to, like, 0.3, I'm going to get a lot of different reds. So you can see that there's a couple of reds and a couple of oranges and a couple of like yellows. So we're keeping an analogous effect, and we're getting a little bit more variation on our skin tones on our elements. So that's it. You need to make sure that you have your standard brush set up. This is the tool you're going to find this in your palette. It's going to be called TFL start. So just open this tool set up your standard brush so that you have your color spray and your Alpha ready. Because now we're going to start with one of my favorite techniques, which is called the clown technique. So I'll see you back on the next video, guys. Bye bye. 42. Clown Technique: Hey, guys, welcome back to the next part of this series. Today, we're going to start with D clown technique. And this is a technique that has been taught for a long time. It's a very famous one. Again, traditional makeup artists use this one as well. And we're going to be using this airbrush to fill our character and start adding very nice, like, a rich skin tones to the whole thing. Now, of course, we need to find a little bit of a reference. So if we were to look Tefn what's the word in the Internet, you're going to find that there's a lot of variations. Some people like having them blue, green, red, orange, whatever color. And I'm actually going to allow you guys or allow you. I mean, you're free to do whatever you want, right? But I'm going to encourage you to pick a different color than the one that I'm using so that you can try the color theory things that we're going to be talking about. So, in my case, I think I'm going to go for, like, a purple color. I really like this purple tone. And what I'm going to do is as follows. I'm going to look my color wheel. So let's look for color theory. And I'm going to take a look at what the complimentary colors are for the color for the color purple, right? So the first thing I need to do is, of course, I need to select a base purple. I recommend if you take a look at this little square right here, I recommend never going to the borders because the borders are the most intense colors that you're going to find. So always keep yourself right on this angle. I'm going to go for like a desaturated medium tone, a little bit darker tone purple, like this. Probably a little bit lighter, just a little bit like this. There we go. I like that one a little bit better. And I'm going to go again, RGB. I'm going to say color, and I'm going to feel object. So now, this guy has been filled with this purple color. Now, there's three main tones that we're going to be using. We're going to start with the red color. And the red color is the tone that I'm going to be using for every single area that my character has where I expect there to be a lot of blood flow, okay? Muscles, thin areas like the nose, like the ears, the lips. Like every single area where I expect the character has to have high blood flow. I'm going to be adding a nice little pass of reth. Now, here's where you can decide and be like, you know what? I want this red to be a little bit darker to be a little bit lighter. I think I'm going to keep it light because the skin is already a little bit dark. So I'm going to start adding this. Now, very important, do not change the size of your brush. Once you decide on one size, do not change it because otherwise, the dots are going to be like humongous, and that's not something that you want. Even if it takes a little bit longer, just go here. Also, don't go overboard. Don't go super intense. Like how soft I'm adding the colors right here. I just want to barely paint the character. Now, for instance, on the ears, we can go a little bit more intensely because I know they're going to be a little bit redder, like all of these areas over here. There's like small little horns, the nose. We're going to go on the mouth and see how nice the texture is looking because we have the nice, like, air brush setup. We're going to be able to create this amazing gradients on our skin and create this very, very nice effect. Now, I'd like to call this the clown technique. That's not the official name. That's just my interpretation of it. Because our character is going to look like a clown at first, and then we're going to be polishing it so that it looks a little bit better. One thing that I do need to say, and this is especially for those of you guys who have a little bit of experience in other treaty software. Nowadays, poly paint is not something that you're going to be doing quite a lot. Poly paint is mostly used for concept art, and sometimes, sometimes for texturing. There are more powerful softwares out there like substance painter, treat code, even blender, where you can paint and texture the characters in a better way, marmoset even. So you're not going to be doing a lot of poly paint, to be honest, but you can throw in a quick poly paint every now and then in your projects to show your art director, to show your client, and if they approved, then you move on with your tradition like what's your traditional procedure, right? Like your workflow. So there we go. Again, the reds are going to be in all of the areas where I expect there to be a lot of circulation. So when you see, big muscles like this, like the massive here, like here in the mouth, I would expect to have a lot of blood flow. So I'm going to be filling this with a lot of, a lot of red. Doesn't really matter if you go, even if you go like super overbar all the way. You can go, really, really intense, but don't go all the way because then it's a little b difficult. It's going to be a little b difficult to pull it back. There we go. Now, that's the first color. The second color that we're going to pick is going to be our crevasses. And here's where in my case, things are going to be a little bit different. Why? Normally, if I was painting like a traditional human skin, I would be using like a deep purple or, like, a deep blue for all of the crevasses. But in this case, this guy is already purple. So we need to pick a color that gives us a nice effect without really doing something weird. So I think I'm going to go for like a blue. Let's try a blue, and let's see how this looks. So the crevasses, the blue looks nice. I think I'm going to go a little bit darker though. The blue will allow us to give a little bit more depth on areas where I would expect there to be like crevasses, like the inside of the nose, a little bit here on the lips, for instance. And again, you don't want to overdo it. You want to keep it simple, you want to keep it soft because we're building layers. And this is one of the cool things. This is why this technique is so effective because by doing this in this sort of like layer way, The reds that we had before are now going to start combining with the blues, and they're going to start giving me some very nice deep purples that would be very impossible to get, by hand. So so this blues now that I'm adding here and all of these places, will allow me to nicely blend everything in my character. Look at that. So a little bit here. Instance where all of this, crevices that we have here on the horns, It's looking like a devil, but don't worry. We'll bring the purple back, right now, this is just deconstruction of the character, so don't worry. I also like to add a little bit of the color pretty much everywhere just to have something because otherwise things started becoming a little bit to again, monochromatic. So so we're going to go something like this. There we go. See now how that's a little bit too much. We can just sample like a basic red there and just bring it down a notch so that it blends a little bit better. There we go. Quite nice. Now we're going to go for the final color, which is going to be a yellow, and yellow is for fat and card leg. So, for instance, the nose, that's card leg. The lips have a little fat. Bone also bones all of this like chin. Of course, the horns, we'll talk about the horns later, but all of this little like horns that we have here probably going to be like yellowish. The A of this area, a little bit on the nose. I have the clavicles down here. Like the spine on this side. The guy right here, like the whole skull. Again, I always like to add even just a tad bit everywhere, but there's going to be areas where this is going to be a little bit more prominent. The psychometic arch, of course, all of this, the eyebrows. There we go. Look at that. So now, this is what I meant by the clown technique or the clown phase. Because at this point, you can see that character looks really funny. It looks very, very intense, very, very weird. So what we're going to do now is we're going to bring back the purple color that we had, but we're going to do it in a soft way. So I'm going to go down here usually on the underside of the character, you're going to still have the original color. I'm going to sample it. And if I were to go to color and feel object, I'm pretty much going to erase everything that I just did, right? However, if I lower the intensity to something like a 5% and I go color and feel object. Let's actually bring this out and I start filling the object like one, two, three, four, five. It's going to be done it layers. So I'm going to be able to start bringing back the original purple color without erasing all of that nice like grading that I was able to create pretty much everywhere. So I'm going to give it a couple more clicks. There we go, and look at how interesting and nice my skin looks now. This is the kind of effect that we want to achieve. Because as you can see now, we have a nice grade and the nice transition pretty much everywhere that we're going to be able to blend now to create an even more interesting effect. So I'm going to sample, for instance, like this nice purple color here, and I'm just going to start blending. Now, of course, we need to bring the intensity back to 100 so that we can paint a little bit more intensely like that. We're going to be able to bring this back. There we go. So now, as you can see the skin of our character, and one easy way to do to check this. If we go to flat color, we're going to be able to see this. Now, I can immediately tell here that we're getting the splotches of red, right, in several areas. So, so I'm going to use this sort of, like, very soft purple tone that we have here to fill in all of those gaps. Because I do want to have big blotches, but not as big. Everything should be slightly faded. So you can also go here into flat color and use it as an indication to know where to blend your color. So for instance, that blue, it's a little bit too intense, so let's sample it and let's just use the same color of the blue to kind of fade it out. I do like it. It's just a matter of interna areas, it's like the transition from one color to the other, it's very very obvious. So I'm just going to start using the same color to fade it out into different directions. There we go. Nice. So let's go back to our started material, and you can see how nice our character is looking. This is the clown technique guys. And again, as I mentioned, you are going to be doing different things depending on the type of character that you're working with. Like if you're doing a goblet or if you're doing what's the word like an org and you're going to be grabbing like green skin or something, then the colors mi vary slightly, but this is the general thing that we're going to be following. Now, if you want This material is a little bit too dark sometimes. I'm going to go back to the basic material, which is a little bit lighter so that we can appreciate the color a little bit more. And you can still at this point, go back to, like, a red color. I'm going to keep it a little bit analogous. And if you want to touch up a couple areas, just be very, very soft here. You can even decrease the RGV intensity to, like, 37% or something. And you can touch up a couple of areas, for instance, the nose. That's a little bit more color to the nose. And that's going to allow you to start painting. That's why I've mentioned that this to me, it's very similar to painting like miniatures, if you've played like D&D, It's very, very similar. I'm going to grab a dark purple color, and I'm going to use this one for the lips. So I'm going to be very gentle again and just paint this lips like a dark purple color. Again, don't know we're doing. Don't make it like a plaster. You want to kind of like layer things out and be creating this sort of like transition from one point to the other. There we go. Now, I think it's a little bit too much. What can I do? I can just grab another color here and just like tone it back a little bit. Like bring back the original purple and that's going to transition the lips back into a more traditional color. Which is what we're going for. There we go. Again, let's go into our flat color, and let's appreciate how this is looking. I like it. I think the tones are fine. Now, one thing that we're seeing, we can see all of the crevices and all of the elements here in our character, but we're not really seeing them once we go into flat color, it looks really flat. And I would like things to look a little bit nicer. So I'm going to be adding something called an mpient occlusion pass or like a cavity pass. And the way that we're going to do this is with our masking tools. We've talked about masking things before, but we've not done, advanced masking. So we're going to jump down here to the masking tab, and we're going to be using this thing called mask by cavity or mask by Minocon. We're going to start with mask by cavity. I'm going to click mask by cavity. And something's going to happen here. Let me go into the flat collosal that you can see. What we've done here is as the name implies, we've mask all of the cavities of our character. And it's really, really fine. We pretty much mask even like the pores and the lines in between the elements. We can change this. If we lower the intensity here, for instance, for the mask by cavity, let's go to, like, 90%, and we mask by cavity again, or let's go even lower. You can see that we only mask certain cavities. So you're going to be able to change this thing around. You can also change which cavities we're looking for. So if we push this curve out, you're going to see that we get a little bit more of the mask because we're looking for this kind of profile on our character. But what we're going to be doing with this is I'm going to press control and click to invert the mask. I'm going to grab the traditional color that we have over here or like a dark purple color, and with a low RGV intensity, I'm going to be filling the object. So I'm going to say feel object like one, two, three times. Then when we take the mask out, you're going to see that we're getting a little bit more definition on all of those crevices that we have. So that's going to give me more def. I'm going to do a couple more times, so one, two, three, more times. And as you can see, now, In the flat color, we're actually seeing more of the detail for our characters than what we had normally. So this is going to give me way more contrast. Let me go, let's go here in the *** chill. It's gonna give me way way more contrast, and our character is going to start looking quite nice, okay? So that's one trick that we can use. I'm going to stop the video right here, guys. We're going to now jump onto adding a little bit more details to the overall character. And we're gonna add yeah more more texture, more elements. There's a couple of things I want to show you about, like the scars and blood, how to do the little horns and stuff. So yeah, just hang on tight, and I'll see you back on the next one. Bye bye. 43. Adding Details: Hey, guys, welcome back to the next part of our series. We're going to continue with the poly paint, and we're going to be adding more details to your character. So the first thing I want to add, as you can see here, if we go into our flat color, you're going to see that the overall lightning situation for our character is pretty much the same. Now, usually you want to keep it like that, but if we want to really push this concept, we can actually use some of our colors to add more light and more shadow to other parts of our character. So for instance, I can grab this color right here, go a little bit lighter, like this pink light, and kind of like if I was wearing or using makeup, I'm going to push the pinkness of these areas a little bit more. Let me see where my RGB intensity is. There we go. Let There we go. So see how we can push that. It's going to be really, really solid. So I'm just going to kind of highlight some of the upper points of my character. I can even do that a little bit here on the on the cheekbones. And again, it's kind of like using makeup or like we were adding makeup to our character. I think it's a little bit too much. So let's bring the RGB intensity back. And very, very softly, We're going to highlight a couple of the areas of our character. That's going to really really bring him up into a nicer effect. Another thing that's very common is, for instance, when you shave, you usually get this dark spots or greenish look here. I'm going to go for a dark green effect, and we're going to be adding a little bit of this effect here on the chin. So you can see that green is way way too green. Let's go a little bit darker, not so saturated. I'm going to make this a little bit bigger. And here, I'm not sure, we have symmetry turned on. So I'm going to be adding like this sort of effect. That's going to make my character look a little bit more mature, right? We're going to be adding here, by the way. This is also the chapter where we're going to be taking a look at fiber mesh. So that's why I'm adding this sort of preparation for the beard and the effects that we're going to be adding. So there we go. Let's add a little bit of that over here, and that's it. Now, we have this nice little cut right here, and that's where blood would be really, really, really good. So I'm going to go for like a darkish red. And very, very softly, I'm going to start painting this with this red blood. So we're going to go right there. Now, unfortunately, I had symmetry turn on, and there's no symmetry for this scar, so I'm going to go back, turn symmetry off, and it's just a matter of adding this paint color right here. So I'm guessing this is a fresh wound because otherwise it wouldn't be as red as what we have right now. So that's why it's super super intense. Usually, usually the skin would get a little bit red on the side. So in this case, it would be a little bit pinkish, like, freshly cut skin. Let's go a little bit brighter. Because you usually get a little bit of inflammation on the sides of a cut, all of your defense cells, your white blood cells, doing the fights so that get an infection, and there we go. That looks pretty cool. Animals. I'm not saying that this guy is an animal, but animals usually have some skin effects. So here's where I might go with some bigger dots and add a little bit of texture on the scalp pretty much. Like we can add some interesting spots here and there. Just to add, you know, some visual interest to the skin on the skin to have some sort of like weird look. Let's make it a little bit darker. We could even grab, change this to drag r and change this. There's like this Alpha 25, which is like like weird skin texture. It's a little bit too much, I think, so I'm going to just bring the intensity weight down. Like a little bit of like branding. It's not a brand, but it's, you know, something there. So it's a a cool way to add variation to our creatures to our characters so that we get something nice out of them. There we go. Now, another thing that we can do, of course, is add marks and branding. So again, I mentioned this guy he's supposed to be a demon from Hells trying to redeem himself, kind of like Hellboy. So we could add like a tattoo. So what if we were to go here to the side of the mask? And what I'm going to do is I'm going to draw a mask. I'm going to draw like this weird ruins going on on the side of his head. Off his eye, kind of like Mike Tyson. There we go. And then you can just invert this. Looks like a blue color, like a nice, like kind of shiny blue color. And with a low intensity, 24 seems fine. I'm just going to feel the object, probably twice. Okay. So now, as you can see, we have a nice little tattoo over there, which is to I's going to make the character look a lot nicer. Let's talk about the horns because we haven't done the horns yet. And here's where we can decide what kind of, like, color they're going to have. Usually they're like dark, like the usual color for horns is like, like dark brown. So I think in this case, we're going to keep it similar. So we're going to go with like a dark desaturated brown like this. I'm going to go RGB intensity to 100 and we're going to say feel object. And unfortunately, this one, they don't really benefit a lot from what we're doing with the air brush. They benefit a little bit more from what you saw, which is the cavity masking. So I'm going to go again here and mask by cavity. You're going to see that we get all of that effect. Let's invert this. Let's go like a darker color, and let's fill the object. This one is going to be quite heavy. There we go. So that's going to give me some quite heavy effects. And then we can sample the color, go for like a lighter tone, And here, manually, we can again build up our spray or air brush effect, the color spray. My God. There we go. Color spray. And we can hit some of the upper parts. It's increase the intensity a little bit. We can hit the upper parts to keep it a little bit of lightness, right? To light up all of these effects. So it's kind of like if we were painting the light in, we're not really creating a grading or anything. It's more again, like, painting the light in. And we can go a little bit higher and a little bit lighter, e it another pass like up here. And again, that's going to make the horns really, really shiny. If we need to tone it down, we just need to grab the original tone and just fade it out a little bit, use it to to kind of kick the color back and blend it back to the original color that it has. Now, this is the kind of color that I would need to add to this little horns right here. So I'm going to go back to the little guy here. Let's increase the RGB intensity so we can paint this little incrustations here. There we go. And painting is a lot like sculpting because you're going to be deciding where all of these elements are. And it's a little of fun, to be honest. And not only is it a lot of fun, your character and your creations will look a lot better if you spend the time to give them a little bit of a hand paint or If you paint them, you're going to really, really appreciate it because the character is going to be kind of like finalized. You're going to be seeing the final the final process for the whole thing. We can just click here, PPR and get a look at how nice this looks. Look at that. Pre pretty nice skin tone. It's not just like a purple. There's a lot of tones and things going on around this character that are making him look so so cool. I'm going to go to the yes. And I think I want to keep the eyes like white. I think they would look quite interesting and contrasty. Now, we could, of course, remember, the color the contrasty color is yellow. So maybe he has yellow eyes, like mustard yes. Again, RGB ten 200, and here we say fill object. And there we go. Our character is looking quite quite nice. So yeah, this is pretty much it. I'm thinking about if there's anything else that we're missing. I don't think so. There's a couple more things that I want to show you. I want to add a little bit more like visual interest to the whole character, but we're not going to be able to do it as easily with just painting. There are certain things that a human can't paint as easily. So we're going to be using some textures to add more detail, but we're going to be doing that on the next video. So make sure to get to this point. It might take you a little bit longer than what it's taking me because, of course, if you're just learning, you're going to have to get used to the tools and stuff. But yeah, we're going to do textures next, and after that, we're going to be moving onto the hair, which is going to be really, really cool as well. So hang on tight, and I'll see you back. On the next one. Bye bye. 44. Using Textures: Hey, guys, welcome back to the next part of our series. Today, we're going to continue with using textures. And as we were talking in the last video, there are certain things that yes, you can paint, and if you're a super skilled painter, you're going to be able to create amazing detail with just like traditional hand painted textures. However, there are a lot of details that are going to be very, very difficult to get, such as the horns, right? Like painting horn texture is really, really complicated. So I'm going to show you a very quick and easy way in which you can utilize these textures to generate more interesting effects. So for instance, this one, I know this is not texture for a horn, but just the variance in color and effects that we have here, it's going to be really really cool. I'm going to save this image in our projects. This is going to be available for you as well in Chapter eight, it's called this horn texture, and we're going to jump right in here. So we're going to jump onto the textures. I'm going to grab my standard brush. Change this to drag t, change the Alpha to one with a fall off. That one's going to be important so that we don't see a sharp stop of the texture. And then on the textures, you just need to go here and hit import. Just like that. You're going to select the texture, hit open, and once it's imported, you just selected here, and there we go. Now if you drag and drop this texture, as you can see, we're going to be able to get this amazing effect. Now, The only problem, of course, is that since our RGV intensity is set to 100, we're pretty much overwriting every single thing that we did before. And I really like the tones. So I'm just going to move this thing down. I'm going to go back to RGV Remember, we don't want to paint texture really, and that should allow me to get only like a little bit of the effects, see? So by dragging and dropping now this sort of effect, it's going to be a lot easier to just modify this thing and add a lot of very interesting interesting paint effects, like what you see there. Now, technically, you could turn on CAD, and if you do that, that's also going to be adding some volume to the whole thing. But that might not be something that you want unless you have a really, really nice, like alpha. We can grab this texture actually and make this an alpha. And now, if we drag and drop it with CAD turn on, we're going to get the details as you can see there. So if that's something that you want to try, feel free to try it. It might be a little bit noisy or weird, but you might get some interesting effects. So there we go. Now, if the horns became way too light, remember, another thing that we can do is just grab like a darker color like this dark brown, go to an RGV intensity, like a low TV intensity and fill the object a couple of times. So like one, two, three, four, five, six, and that's going to keep most of the noise texture that we have, while still adding a very interesting effect over here. So, yeah, that's pretty much it for that thing. Now, you could also use transparency. So let me show you here. I'm going to open photoshop, which I know it's going to mess up my elements a little bit, and I'm going to look for a texture, like a bruised texture. So whenever you look for a texture, you want to look for something that's as nice and as clean as possible. I just found this one right here. So there we go. Let crop this. You usually remember we've talked about this before. Whenever you do an image for brush. You usually want this to be square. So I'm going to go there we go 1,500, 1,500, there we go. Now we can scale this a little bit. And what I'm going to do is I of course going to delete the background. We don't need the background. There we go. And then with a smooth brush, like a soft round brush right here. Let's erase the borders. So that we only have this thing right here. Now, technically, if you know how to use photoshop and stuff, we could already go here into the saturation. We could colorize this or rather just control the u, and I'm going to change the hue, so it matches like a purple hue. Something like that, a little bit reddish. That's going to work a little bit better for our specific character, go to press control to save this. This is also going to be in your files here. Project files, Chapter eight. We're going to save this as a PNG. It's going to be called a Bruce. There we go. Now we're going to go here, and same deal. Let's turn off the Alpha, go into textures, import and we're going to import this Bruce. This one right here and there we go. Oh, I think the RGB intensity is way too low. There we go. Now, as you can see, it's actually grabbing this thing right here, which is not something that we want. Here's where having an alpha would be very, very handful. So I'm going to add a new layer here. Paint this layer black, like that. Make sure that we delete all of these areas right there. And then this gamba press control shift to desaturate it and then control L to push the colors, really, really high so that now, as you can see, the Bruce matches the Alpha. I'm going to control S. I'm going to save this as a PNG as well, and this is going to be called Bruce Alpha. So now we go back into sea brush, we go into our alpha, we import the alpha, and we select this one right here. And that will make sure that only, as you can see the bruise is being applied to the skin. So we pretty much cut the thing using our alpha and it's giving us a nice nice result. So maybe over here. Again, I will probably bring the RGB intensity down so that we don't see it as much, but there's going to be a slight mark in a couple of of the characters face. And again, this sort of texture is the texture that it will be very difficult to paint. Like, you could try it, of course, but it's going to be really, really complicated to get such nice variations of tones in a fast way. So yeah, I mean, that's pretty much it, guys. This is, again, a short video just about how to use textures here inside the series, super super simple. I usually only use textures when I need to do this sort of thing, or if you remember back then, when we were using the X for the image plane for the import image, that's another use for the textures because normally I would use things like substance painter to create realistic textures. So I'm going to stop it right here, guys. And in the next one, we're going to talk about the principles of fiber mesh, which is the new system that we're going to be taking a look, and then we're going to do a quick, like, beach groom for this guy right here. So yeah, hang hang on tight. I'll see you back on the next one. Bye bye. 45. Fibermesh Basics: Hey, guys. Welcome back to the next part of our series today. We're going to continue with fiber mesh. So before we jump into fiber mesh, I just wanted to give you guys a little bit of a rundown about hair because here's one of those things that a lot of my students have questions about, and there's well, different ways to handle it. So the first thing is sculpted hair. So that's probably the easiest one for any beginner two to start getting their hands into, and they're going to be able to create some amazing stuff. Sculpted hair has been around for thousands of years. If you take a look at the old Greek and Roman sculptures, most of the hair there or pretty much all the hair there was a sculpted. So you can get them away with very, very nice sculpted hair. It will take pretty much the same tools that we've used, clay build up, they mean standard, blocking in the shapes, main forms, secondary forms. There are some custom hair brushes like this one right here. Some of them are free, some of them you can get online. But yeah, so this is pretty much part of what you can get, right? So that's the sculpted hair. And it's really good. You're going to be able to get amazing results. What the best example of one of the best examples that I can give you guys is, of course, legal legends. Legal legends most of the character actually, all of the characters inside of the game will use like sculpted hair. You're going to see, like, the block of hair moving around. Not in the concert part, not in the cinematics, but in the game itself, you're going to see a lot of sculpted hair. Another example would be FnightFnight has a lot of sculpted hair for their characters because that's the stylized look of it. The other type of hair is, of course, hair cuts. And hair carts are really, really complicated to do. Well, not super complicated, but they are tricky. It's not like the easiest thing to do. They require a little bit more of technical approach because you're going to be doing bags. You're going to be placing them. There's a special UB things that you need to take into consideration, and it takes time. That's one of the big drawbacks about haircuts. Will take quite a bit of time to hand place or use some sort of plug in to place them around your character. Most of the games nowadays, especially if you want to go for realistic games are going to be using hair cuts, and you're going to get amazing results like this one right here. They are expensive. They get a lot of polygons, they get a lot of texture, but they look really, really, really good. Now, the most expensive of all of them, or the most expensive type of hair is, of course, realistic hair. One such example is, for instance, ortrix. Arntrix is a plug in. For Maya, that does hair, specifically for hair. It's a really good plug in, not super expensive for what it does, especially if you're doing a project that requires a lot of hair. And it will generate the actual fibers of the hair. That's one of the strong points about this sort of systems that you will create each individual hair strand, and most of those hair strands can even move with the wind. If the character jumps, the hair is going to jump and flow like realistically. Of course, this is really, really expensive. There are some games out there that use hair as a system, and you can see wichar three did it with I think it was called Nvidia hair Works or something. But it is really expensive. You need, like, a lot of graphics power to be able to operate and simulate the hair so not a lot of games actually do it. Most either go with sculpted hair or with hair cuts as we mentioned. Now, Inside of C Brash we have this thing called fiber mesh. And this is super old as well. I can't exactly remember when they introduced this, but it was a long, long time ago. And it's really good for concept. It's not super great for production. There are some pipelines out there that teach you how to bring fiber mesh into Myo into blender and convert it to polygons or cover curves and create your hair systems and stuff. But most of the great projects that I've seen with fiber mesh, they stay inside of Crash. They just keep it inside of Cis, you get a nice little concept, and then recreating it with other systems, you're going to be able to rebuild the same effect. So fiber mesh is a hair system or a hair module inside of sea brush. But the only difference or the way it works is that instead of creating curves, it creates very fine and small lines of polygon. It's like a really nice and small strip of geometry that acts as a hair. So let me show you here real quick. I'm actually going to go let's get rid of the color. I'm going to go to a sphere tree d just to show you the channel basics here first. And the way fiber mesh works is very easy. You're going to mask out an area where you want the hair to grow, let's say, right about there. And then you're going to go into the menu here, and there's one menu called fiber mesh that we're going to be able to preview. When you preview, as you can see, boom. We got a buckle of hair, like a bundle of hair right there. In this particular case, it might be good for me to To change the background here, I don't think we've talked about this before, but in document. You can change the range here to zero, and now the background is completely gray, and that's going to allow you to appreciate the hair a little bit more. And there's so many modifiers in here, like, you wouldn't believe it. There's so many things that you can't change. So let's start taking a look at some of them before we jump onto the actual grooming for our character. Well, as you can see right now, this are just polygon strips, and it does look like hair, but it looks like a very, like, spiky, like, not so smooth hair. If you press PR or when you press BPR, what's going to happen is that sibsh will convert, as you can see it right here. Let me get closer. As you can see it right here, Sabh will convert all of those hairs into a nicer, more like fine looking hair. Now, let's go over the modifiers. The first one is max fiber. That will tell you how much fibers, how much hair you're going to have on that specific area. Are you going to have a really dense like hair or are you going to have a really small and scattered hair. Then we have the length, which is very, very easy to understand. It's right here now. Here, it's a lot bit easier to see how this are polygon strips. You can see the bends, because right now there's an option right here on segments, and that's the number of segments per fiber. You can see it right now, we have three segments. So the hair is really, really scratchy, right? So, however, if we press BPR, you can see that even though it looks very bad on the viewport, once we render here instead of sbh it actually converts it to a nicer looking hair. So so we're going to be able to get away with, like, very blocky looking hair here and then get nicer hair later on. So that's the length, of course. Then we have the length profile. This is important because this tells me how the length is going to be distributed. So if I were to change this like up here, you're going to see that it goes longer on certain areas. And then if I go over here, it's going to go shorter. So you can play around with this graph as well. Remember, if at any point at a point that you don't want, you can just stick it out by dragging and dropping it outside of the area here. Now, let's close this. The width, of course, is the same thing, like how wide the object is going to be or the hair in this case, you can play around with that one as well. But let's talk about coverage because this one is really important and it gets a little bit confusing. Coverage is how much area the hair is going to cover. So if we make the coverage bigger, what's going to happen is the hairs are going to become thicker. So it's going to be more like rubber. So imagine we're doing I don't know, like a mop or something, and you want to add like the fibers of the map at the end. I'll probably go with a really really high coverage so that we get like this really big blocky they kind of look like like noodles, right? So that's what you might want to get for your specific character or prop. Now, if you want, really, really thin hair, you're going to go with a really small coverage, and you're going to see that this becomes really, really fussy. So think about like an old man's hair, it becomes really, really thin. This is what you would get with coverage. So sorry, this three guys, this is what I would consider like the three main drivers of how your hair is going to look, which is how much hair, how long is the hair, and how much coverage does the hair offer, right? So by modifying those three things, you're going to be able to create cool things. Now, by the way, at any point, if you create a hair system or a set up here that you really like, you can save this, and you can actually go here into lightbox. And if you go into fibers, you're going to find that there are a lot of pre setted fibers that you can use. Some of them are really, really wonky, but others are okay, for instance, like this one right here, This is like, on like IV or something. So there's some cool stuff in there. And you can again, save this at any point as a fiber preset. Now, let's keep going here, and this one's important, the scale root and the scale tip. By default, the root will be a little bit thicker than the tip. So if I increase this really, really heavily, you're going to see that we get a really thick hair at the beginning, and then really, really thin at the end. So you can change that. You can even invert it, like if you want, like a really small tip and then or a small root and then a really big tip, you can do something like that. And then that's how you're going to get this crazy looking things. They don't look like here anymore. It's more like like antennis or something. But it's cool. It's fun. It's fun to play around with these things. Usually, your scale for the root is going to be like 1.25, and the scale for the tip is going to be like zero point to five or 0.75 so that you get this tapering effect where the hair becomes like thinner, right? Which is something that happens very, very naturally. Let's increase the coverage to, like, a ten. Yeah, that's a little bit closer to traditional hair. Then we have the slim slim is again, kind of like slim the hair down, so you're going to see a little bit of a change there. I personally don't use it that much like the slim function. The one that it's really really cool is this one, the revolve rate. The revolve rate will give you like curly hair. So if you want to have a little bit of a curly hair, you can just increase the revolve rate and you're going to get this. Now, here's an important factor. Remember, we are only working with five segments right now. So that means that we're only twisting three segments, sorry, three segments around and creating our curly hair. If we increase the segments, if let's say go to ten, look at that. Our twist effect or our curly hair. It's going to look a lot lot nicer because now we have more divisions to really twist the hair around. So it's very important now. This is also going to increase the topology or the amount of geometry that you're using quite a bit, so be mindful about that. But yeah, whenever you use this revolve, you're going to get that sort of effect. Let's bring this back to zero, and let's bring this back. Let's go five. I usually like using five. Twist is very similar to revolve. It will just like twist the hairs around. However, it won't create spirals. It will just like move it to different sides and that's it. And then gravity, gravity is very cool. By default it's 0.5, so it's falling down. But if you bring it down like to negative one, you can see that the hairs going to go up. So if you're doing like a mohawk or something, this could prove useful because you're going to be able to create some nice spiky hair going to the top. And if you go really, really high here, you're going to see how the gravity really pushes the hair down and it really doesn't allow anything to go up. Now, you do have this direction variation noise. And if you change that, what's going to happen is the gravity is going to be going crazy, and you're going to start having like noise all over the place. So if you want to add a little bit of variation, like, let's say 0.2 or something, that could be cool because it is going to be falling down because the gravity is really high, but some of them won't. Some of them will be going against the current, and they'll be creating this weird like effects. Let me increase the coverage a little bit. I still think it's a little bit too thin. There we go. That's a little bit nicer. So, yeah now, H tangent and tangent, that's horizontal tangent and vertical tangent. Again, to give like noise to the whole thing. So if you're going to have this grumpy, we're not grumpy. What's the proper word? Like, fluffy, like going all over the place here, you're probably going to want to change the H tangent and the tangent. The more you changes, the more extreme this becomes. So as you can see here it's more like a bush or something. Doesn't look like real hair. But if we just add a little bit of B tangent and a little bit of H tangent, you're going to have this sort of, like, messy uncombed hair. So it looks cool. Lump clumps is something that you can again activate. It won't be as effective here because we just have one big strand of hair, but it will try to clump things together. I personally don't think it works as well. There's a brush that we're going to be taking a look later on that works a little bit better. But yeah. And then the color profile, as you can see, it goes from the base to the tip. You can change that if you want to change the curve. If you want the base to be longer or shorter, you can change that there. And here, the base, of course, is the base of the hair. So if you want red hair, you can just go right here and then, like light white there. And when you render, this is going to look like red and white. So the tip has a little bit more weight than you might think. So if you want, really, really colorful hair, I would recommend going here on the tip, and that's going to give you a nicer effect. And, yeah, that's pretty much it for the grooming settings. Those are most of them. Of course, all of these are variations, so you can use them to add a little bit of variation to each specific setting that you have here inside of a fiber mesh. Now, there's one very important thing. Right now, we've all been working or we've been working with this thing called preview. So if I were to turn this off, everything disappears. Like, I don't actually have any subtle or anything that is saving that hair right there. So in order to make this permanent, what you need to do here in fiber mesh, you're going to, of course, preview, and once you're happy with the result, you're going to hit accept. Again, be mindful. Once you hit accept, every setting is gone, you're not going to be able to modify or change any of the settings anymore. But do not worry. That does not mean that we can't change the hair. There's still things that we can do. And here's where some of the hair brushes are going to come into place. Most of the hair brushes are going to be found under the G key, which is the groomed key, and we have the groom blower, groom brush, groom clumps, color made, color tape groom stronger groom hair bull groom hair, blah, blah, blah. So there's a lot of them. Pretty much like the cloth brushes. One that I really like is, for instance, the groom brush, and it works pretty close to like a comb. So if you start like combing the hair, you're going to see all of the fibers. You're going to start following my brush. Now, very mindful here, these brushes work camera base. So if my camera is like this, you're going to see how they kind of like move in the direction of my camera, okay? But you can see, I can pretty much as if this was a doll, I can just start like combing the hair of this little guy right here. Okay? Now, if you want to cut the hair, let's say this is too long and you want to cut it. You just as smooth it, because remember, this are polygon. So if you just as smooth, this is going to cut the hair. It's one way to do, like, a little cut here on the hair. And what happens if I want to increase it? Like maybe I regret that decision and I want to go back go back and I don't have the history. Don't worry. Inside of the brushes, there's one called groom lengthen, and that will increase again, the size of your hair. So it is a very tedious process. It is a little bit complicated. If you ask for my personal opinion about fiber mesh, I think it's a really strong tool for concepting to just get a general idea of how the character will look. I'm going to show you something real quick. This is a roof, super, super old work of mine. Character that I did. Wow. I don't know, like seven years ago. There we go. Seven years ago. The beard here, the eyebrows and the mustache, this is fiber mesh. All of this was composed in Volca. We're gonna learn how to do this, by the way. And all of this is fiber mesh. And for this particular character, it worked well. Like, I worked. The concept was fine. The project was okay. This was for school, by the way. But, yeah, I mean, for certain things like this, it's fine. However, if I wanted to bring this beard into a game and make it feel and flow nicely, that's a completely different story. It wouldn't be as easy. So, I recommend that you learn fiber mesh to get the idea across. But it is important that you learn also some of the other systems outside of Ss, whenever you're doing here to get the best out of both words, okay? So, yeah, I mean, that's pretty much it, guys. We're going to stop right here. And in the next video, we're going to be grooming our character. So hang on tight, and I'll see you back on the next one. Bye bye. 46. Character Groom: Hey, guys. Welcome back to next part of our series today. We're going to do the grooming for our character, and we're going to keep it simple. We're just going to go over the basics of fiber mesh again, just the quick modifiers here while we add a little bit of a beard. So I want to add similar to what you saw with the character back there with a little dwarf. We're going to add a beard all the way here. The first thing I need to do is I need to turn on symmetry and say or tell the software where I want the bear to appear. Usually, when you have an unkept beard, you're going to get a little bit of beer here on the neck. And there's, like, a very curious thing here because you do get a little bit of beard here, but not as much here on the center, so you're going to get this sort of like shape. To have an irregular entrance point over there, and there we go. So that's going to be the beard. So we're going to go here. We're going to preview, and that looks interesting, but not exactly what we want, right? So the first thing I'm going to do, I'm probably gonna give it a little bit more length. I think a little bit more length would be good. I think a little bit less coverage is fine. Here's where we can start taking or doing a couple of BPR renders just to get a hold or get an idea of how this thing is going to look in regards to the thickness. So I think there's a little bit to think. So let's bring some of the fibers down. The color. I think we're going to keep the color black. I think it's fine. But let me look at some reference. Again, reference is going to be king. So if I look at a beard reference, just like I don't know, like a biking beard or something, really extreme, really messy. I don't want this to be clean or anything. You can see we have something like this right here, without the brakes, of course. So the first thing I need to do is I'm probably going to increase a little bit of tangent and a little bit of B tangent to make the beard a little bit more messy. I'm definitely going to increase the gravity so it falls a little bit more. And that's good. I mean, just like a basic beginning here for the bear, I think it's good. So I'm going to hit accept. And it's going to ask me this. This is something that we didn't get on the last time, and we want to know if we want to have the fast preview option turned on so that the fibers look a little bit better. If your computer has good processing speed and you don't feel any bump in speed whenever you're working with fiber mesh, then just hit. However, if you feel like it's getting a little bit slow, just say no, and we're going to see the fast preview once we hit BPR. So here, I'm going to start by cutting the hair a little bit, and symmetry does work even though the fibers are not symmetrical. If it finds thing close enough together, you might get lucky and be able to cut some of this. So I'm going to go now with the mesh lengthen or the groom lengthen there we go. We already have it selected, and let's just lengthen this thing a little bit. There we go let's. I'm going to go V and remember the groom brush. So we have this groom blower. The groom blower is very cool as well. It will kind puff the hair out. So if we're going to have really puffy hair, the groom blower is really really cool in this case, I don't think it's the best idea. Let's go with the groom brush and just like groom the beard a little bit. Remember, this camera base is very important that we take a look at where the camera is facing. So all of the fibers are pointing where we want. And otherwise, you might get some weird angles or wheel results. There we go. I think I'm going to reduce a little bit of the wear on this area. I want the beard to be shorter where it starts in a little bit longer down there. There we go. The mustache is the one that's going to really help. Let's go back to the character, remove the mask because the mask was still active and let's paint on the mustache. All of this area is where my mustache is going to be. There we go. And we preview. Now, it's going to keep or it's going to save the same sort of what's the word, the same settings that we had. So here we can, for instance, bring the length down a little bit, maybe the max fibers as well. Mustache sometimes is not as heavy, and there we go. Let's see the length. I really like that length because I can see the lip and see how the mustache immediately changes the whole thing. So pretty cool pretty nice. So I'm just going to hit accept. And this is the moment of truth because now when we play or when we press BPR, we're going to be able to see how nice or not a D Bard looks, which in this case, again, for a concept piece for something that we're just getting the general idea of how we want things to look, I think it's looking pretty pretty cool. So I'm going to show you one more thing that I think might be a little bit bizarre, but let's add a little bit of here on the back of the character. So I'm going to select all of the back here of the character that's going to help me with having a nice silhouette. So all of this area. I'm not sure if you guys are in a country where hairy bags are common, but in the world, there are some people that do have hairy bags. I personally do not. But I know there are some people that do. So here we're going to preview, and of course, actually, that's really good. I think we can still reduce the max fiber because we don't want as much. I am going to increase the segments, I'm going to give it a little bit of twist. I am going to give them a little bit more length. W. Not that much. Something that looks okay, like that. Again, we can take a look at BPR before we commit to the change. And it's looking okayh, but I think we can make it a little bit better. Let's remove some of the gravity. There we go. So the hair is a little bit more like spiky. Let's do more revolve. There we go, so we got curly hairs, probably a little bit less length. Let's take a look now. Yeah, nice. I like it. Looks cool. Maybe a little bit more fibers. Not that many though, or a little bit less. It's just a small detail. I've seen some people do the little peach fuss that some characters have in their face sometimes. That's another nice application for fibers. We could do hair chest here. For instance, eyebrows, eyebrows are one of those things that we can really benefit from. So let's go here again. Let's get rid of the mask. And let's do this. I strongly recommended you give the eyebrows like the shape of an eyebrow. Otherwise, you're going to get flanders from the Simpsons, like a really, really heavy eyebrow. So try to keep it small and nice. Let's preview there. Here, I am going to change the gravity. There's not going to be any gravity, so zero. Length seems fine. Of course, we need to groom them because right now they're going crazy everywhere, and I definitely do not want any revolveate so I'm going to keep the revolve at zero and twisted zero. I'm just going to hit accept right there, as is. And then with my groom brush, groom brush, there we go, and symmetry turn on. We can kind of push the push the eyebrows in the direction that they normally go. A with everything, guys, the more time you invest in things, the nicer this is going to look. We can do a ten hour course on hair this time because there's still a lot of things that we need to cover about sea brush. But yes, you can see that we can get some pretty nice results. I like how that one was looking. I think they're a little bit too thick, so let's use a little bit of smooth to bring them back. And there we go. Not bad, right? Not freaking bad, a little bit of back here. Now, one thing that's important. Every single fiber that we've been creating, it's a subtle. So if there's a subtle that you don't like for instance, like the hair in the back, we can just disable it or delete it and you're going to be back to what we have right here. Now, let's just review something about the render real quick because as you can see, we have a very sharp render it's like if we had like a spotlight or something. So I'm going to go to lights, and I'm going to move this slide a little bit forward facing. And if we take a render, we're going to get the shadow of the hair, and again, it's going to be, really, really intense. So we're going to go to render. And if we go to PR shadow, we can increase the angle of the light. And by increasing the angle of the light, what's going to happen is that we're going to get a softer shadow, which is usually what we get with here. So this is going to look a little bit nicer. Now, again, as I mentioned, you could technically like export all of these polygons to another software and render them as this low lines and stuff. But this is really difficult. So that's why BP in this case, Crush and fiber mesh really only play well together. So it's not going to be super easy to bring these guys into other software, and you're going to be kind of stuck with whatever you can get here in regards to rendering or with renders. But yeah, I mean, let's compare real quick, where we started with this guy. We have this stifling start. This is where we started. No color, no hair, no nothing. And now we have this full character right here that's full with personality. There's a lot more information here. You can do as many hair scells or as many variations as you want. You can change the skin. You're free to do as you wish. And yeah, that's one of the general processes for concepting art. I know a lot of people. I have a very good friend who's an illustrator, and he does this kind of stuff with characters and then brings something into Photoshop and paints over them to continue doing the concept art. And if the concept gets approved, then he can send this to like a modeler, and the modeler will use some of the stuff that he did here. To save a little bit of time. However, most of the times, once this hair goes into production, you're pretty much going to have to recreate it using one of the proper methods. So that's guys, that's it for this one. We're going to continue now with Chapter nine. And Chapter nine, it's all about specific little tools, especially things that have been released recently, not things that have been in series for a long time. There's a couple of new tools that very particular uses and are really, really cool. So I wanted to save them all the way until Chapter nine so that you guys can see how they can be utilized. And then we're going to go to my favorite chapter, Chapter number ten, which is where we're going to be doing a piece pretty similar to this one, we're going to be doing an alien. We're going to be creating it completely from scratch and using a little bit of everything that we've learned so far. We're going to texture it. We're going to do something called render passes, and then we're going to do a nice composition inside of severs. So yeah, hang on tight, and I'll see you back on the next one. Bye bye. 47. Bas Relief: Hey, guys, welcome back to another video in this series today, we're going to continue with Chapter nine. And as I mentioned before, Chapter nine is going to be one of those chapters where we're going to be focusing or we're going to be taking a look at specific tools that might not require a full hour to explain, but that are really, really cool. So there's a technique in the sculpture world known as bass relief. You've probably seen this one in ancient coins or murals or pillars and stuff. And Bass relief is quite challenging. Like, if you've ever tried to sculpt something like this, you know it takes quite a bit of time and effort to get this sort of, like, three D effect. Thankfully, in one of the latest releases for Sea brush, we actually got ourselves a very nice thing that we can use to create stuff. So in your Chapter nine file folders, you're going to find this dwarf start, and it's this nice little guy right here. This is another exercise that I did for some of my students, of course, sculpting this guy. So I'm going to go into subtle, and I'm going to say all high, which is a way to just push this guy to the high sub division level. As you can see the hair still needs a little bit of detail. I'm going to sculpt the real twigg here. Let's just add a couple of fibers here. I was going to add a little bit more detail to the overall thing that we're doing. You can add as much detail as little detail as you want. As you can see, we have this nice little dwarf here. I'm thinking about, you guys know that I love fantasy. So if we look for some dwarf and coins, you might see this stuff, right? Like this kind of stuff where you have this very nice key here on a coin, and maybe you want to print them out or create a series or something, or maybe for like a game, there's going to be a collectible gene to find. So doing this sort of darbin key here and bass relief style will be very, very tricky. We'll take a little bit of time. However, thanks to this guy that we have right here, we're going to be able to create very, very fast guy here. Now, I'm just going to add a little bit of detail. I want to have this sort of cross hatching on the overall character. So you've probably seen some of this sort of style in some in some coins in ancient inscriptions, there's just a little bit of something because bas relief really benefits from having that sort of effect. So what I'm going to do is I'm actually going to create the coin. I'm going to hit a pan and let's create a cylinder here. Let's grab the cylinder, and we're going to rotate it at 90 degrees, so that's facing forward. Let's make it smaller. We saw we know I know at least hopefully you guys are into fantasy as well, and this is a little bit of a common knowledge. But doors are really structured. They like their things to be really nice and really, really sharp. However, I want this coin to be a little bit old. What I'm going to do is I'm going to turn on polish and dy mesh to dyn mesh this whole coin into a nice little effect. Then I'm going to use my knife knife curve brush here to add a couple of cuts. I'm going to press X, which is symmetry, which should be giving me symmetry on this side, but I'm actually going to turn on my transform and turn symmetry in the C axis first. Technically, we should be getting there we go. I'm going to have one clean cut there, and then I want to have one clean cut on the top, and then one click cut on the bottom. Then we're going to have one click cut there, and one click cut there. There we go. Now I'm going to break symmetry and I'm going to cut a little bit more in some weird angles in certain areas just so that the coin is not perfect. Now, I'm going to make this coin a little bit bigger. I'm going to position it where I want the face of the character. I'm going to turn on transparency to see, and I want the mohawk of the character to be right there. That's what I'm going to be capturing. I am going to be missing a little bit of the beard, but that's fine. That's roughly what I want to capture. Let's make a little bit thinner. There we go. Now, the way this works is as follows. I'm actually I'm going to use a tool that I don't think we've used before, but I'm going to select this guy right here. I'm going to mask just the whole thing, mask the whole thing. And I'm going to select any other piece on the character. And if you put this little icon right here, you're going to be transforming all of the sub tool, which is really, really handy because I can move this guy to the site like this. So now, if I were to go back to this coin right here, there's a little option here called project bass relief. And the only thing I need to do is, I need to click project bass relief. And what's going to happen is we're going to get the bass relief right there on the character. So whatever the camera is seeing at this position, we'll get projected there. So if your camera is slightly skewed like this and you do project bass relief, that's what's going to get caught. So as you can see, we get some very nice details. We need more resolution. So let's grab this guy right here. I'm going to say control D, control D, control D, and we're going to get a little bit more definition there. So we're at 1.5 million. So if we project pass relief now, you're going to see that we get a very, very nice projection of my character right there. And there's a couple of things that we can do to change this. We can increase the relief repeat count, which is going to give me a little bit more intensity. We can increase the relief contrast as well, which should give me a nicer effect. Let's go there, project bas relief, there we go. Inflating things a little bit. Usually, I like to keep the Let's go back here, this guy. There we go. I usually like to keep this thing pretty consistent. I don't usually change a lot of the settings. Like the contrast there, let's bring it back down to zero, and there we go, project bass relief. Let's a little bit closer. What did they change? Did they change the relief step tolerance? There we go. Again. There we go. That looks a little bit better. So what this will achieve, as you can see, is we will project whatever we have here onto our bas relief. And there's one very cool thing here. I have this one is called adjust last. This is part of the stroke textures here in the stroke, and it's another thing that's inside here of sabers that allows me to modify the last stroke that we did. And the bas relief option or the bas relief tool that we just used works as an adjust last. So if I were to move this thing in or out, I can change the way this thing is being projected on the elements, so I can increase the intensity or decrease it depending on what kind of effect I want. Now, let's do a couple of things before we do the projection. So I'm going to go back to the coin. And I actually want to turn everything off. There we go. And I would like to add a little bit of detail to the coin because right now it looks very, very wonky. So I'm going to grab this guy right here. Unfortunately, we don't I mean, we do have a poly group which could help. I mean, we could try and do let's go all the way down. We could try and do a Q measure or like an inset, but that's going to be a little bit tricky, right? So here's where again, live Bolons really come into play. So I'm going to clone this coin. Let's go here. What I'm going to do is I'm going to duplicate this coin, then this duplicated element, do not switch. I'm going to scale it Let's send to the pivot point and scale it. There we go. Now I'm going to scale it in. Oh, wait, wait, wait. I have both this options selected. Let's go back there. Now I should be able to scale this down and scale it out like this. I can position it right about there. To create a little bit of thickness. Remember, we can turn on light olia, and this is going to be removing. That's going to give me a nice little border for the coin. I'm going to say plug in. Is this rotated. Why is this rotated? Let me go back because there we go. At one point, it seems like we rotate the things. Again, let's make this smaller. There we go, and just push it slightly out like that because we don't want to break the wall at the center of the middle. Now we go see plugin to master, and we mirror. There we go. And we're going to get the little hole on both sides. We're going to go here to Boolean mesh, remember, all the way here. B, make Boon mesh. This is going to become a mesh up here. There we go. It's 1.5 million, so it's quite heavy. Let's turn on polish, high resolution and dynamis so we can keep everything nice and clean. Now we can go back to our dwarf. Let's delete this coin, and let's append the new coin that we have right here, which is going to be pretty much the same. There we go. What we're going to do is, of course, we're going to project this. Oh, we had a beard. Forgot about the beard. Let's add the beard. So we get a nice little detail there. That's a weird subtle. I don't remember what that was. Let me just delete that one. There we go. Now I'm just going to grab this guy. What I can do is masking ways we still should have that guy right there. So I can actually select that guy, mask it out, invert the selection and make sure or actually invert the selection like this so that the face only gets projected on that side of the element. Now I'm just going to go back to bas relief. Which is down here, project bas relief, and we're going to say project bas relief. And there we go. We have the coin of our ancestor right here. Now, you can see there's a little bit of something there that I don't like. I'm going to very smoothly mask this bottom side here, so that when we project the bas relief, We don't get anything down there is still a little bit there. It's just I'm just trying to protect the border a little bit. There we go. Again, camera, very important the camera face projection because that's what we're going to be seeing. Let's shift click this one and look at that nice guy. Now, remember, we still have the adjust last, which we can use well before we remove the mask and we can adjust this guy so that we have even more or less. At this point, of course, you can go ahead and start adding a little bit more detail on the specific parts that you might need if you need to sculpt this guy a little bit more. Bass relief is one of those things that I find really, really interesting. It's one technique that has been kind of like forgotten, but whenever you like mint coins and stuff, it's really, really important. It's something that's really, really useful. So what's the word don't sleep on it because there's going to be a lot of work in upcoming years about treated printing jewelry and like old coins and stuff like that. So I'm pretty sure if you can master this technique and create amazing props with it, you're going to be able to land some nice nice side gigs over there. And remember that the more detail this guy becomes, the nicer that the whole bass relief is going to happen. So let's just keep adding a little bit of detail to the hair. This is the part where I love having fun because we can literally just create amazing stuff. I did the coin like this a couple of years ago for players in one of my D&D campaigns. I actually had to traditionally sculpt the bas relief. It took quite a while. So that's why having the tool now, it's it's such an improvement. There we go. Look at that. Pretty cool. Now let's get rid of the mask. Yeah, we can just keep sculpting and doing whatever we need to to make sure that this thing looks as nice as possible. A little bit of We can even move things around a little bit. The head is a little bit nicer. That's our nice darbin coin. Yeah, that's it, guys. Now in the next video, I want to show you something called fickin which is another little tool that we can use and we're going to be using it to add a little bit of a detail to this coin without destroying most of the things that we have here. Hang on tight and I'll see you back on the next one. 48. Thick Skin: Hey, guys. Welcome to another video in this series that we're going to continue with thick skin, and we're going to continue with our warden coin right here. We're going to be doing a couple of examples here with the Darben coin because it's easy to follow example and we're going to be learning some cool stuff. So I'm going to go now to this little menu right here. We pretty much cover all of the menu here. You've probably seen most of the things here. There's a couple of more that I want to talk about. Some of them are a little bit more specialized, so we might not be able to cover them in this whole course. But yeah, pretty much everything here has been talked about. So I'm going to turn on thick skin right here. And what Tick Skin does is it adds this sort of like How can I explain, like, a barrier to my object. And now, what I'm going to be able to do is I'm going to be able to use any brush pretty much like the clay build up here, but I won't be able to push the detail more than 20 units in this case. So see that little guy right here. It doesn't matter how hard I press, I won't be able to push it. And I'm not just adding surface. I'm literally like bringing the surface that I previously had 20 units to the front. So this is really, really good to add this sort of like clay effect or damage structure without really like modifying or destroying what we previously had. This also applies to the negative axis. So if I push this, I can only push this 20 units in this case to the back here. So I'm actually going to clone this. I want to have it as its own subtol. So let's go here. There we go. And there's a very nice brush down here, which is called it's not soft clay. Where is it There's like a clay. It's some sort of clay brush that gives us this very nice, like, effect. B, where are you? Where are you? Uh, should be around here. I can't find it. But this brush is really, really cool because it adds this sort of, like, again, like clay. There we go. Tick clean, thick skin clay. That's the one. So this one, as you can see, it kind of looks like I'm pushing and moving the surface, but I'm not destroying the detail, see? Like the detail still remains all the way up to this point to the 2020 thing. So it doesn't matter how much I do this. You can see that it still kind of keeps the same thing over there, right on the on the same plane. So I can use a little bit of this to I give this element or this character, the sort of like hand made metal effect, right? If I want to really, really damage the element. It's a really good way again to control because it doesn't matter how hard they present. It's never going to deform it in a super unnatural way. So I really like this effect, especially if you're working with like a character and you're doing a statue or something, it works really, really nice. I'm also going to jump here into my clay build up. And again, we can just start hitting different areas train dynamic, of course. Two to hit some of the coin areas and give it this old damage with the term dynamic, I can't go lower than 20 and we're going to get this. That's the point where I probably would like to turn this off because otherwise, we're going to stop. That's why I called thick skin like a safe measure because it won't allow you to push the surface of your object more than the amount of death that you defined on the thickness. Again, if you really want to add some specific detail to everything without running the risk of erasing your detail all of the hard work that you've done so far, thick skin is a really, really nice tool. Now, another tool that I want to talk about, and I'm sorry that I couldn't include it on the title. It would go a little bit too long. It's the morph target right here. So Morph Target is very similar to the layers, but it's just like one layer. Instead of having multiple layers that you can switch between, Morph Target only allows for one layer. So I'm going to store a morph target, and what this just did is save a copy of this guy right here. So now, what I can do, for instance, is I can let's go again to thick skin. Turn it off. There we go. I can do as much damage as I want to the object. Let's really really destroy the coin with slashes and everything that you might imagine. Again, this is only one layer, but there's a lot of things that we can do. And at any point, at any moment that I want, I can just go back to the Morph Target. Right here, and switch back to my original effects. So it's like storing a what's the word? It's like storing a version of your object so that you can go back to it if you need to go back. And again, at any point, they can switch. But that's not the only thing. There's actually a morph brush that we can use. It's called BMG. They changed the shortcut. It's BG, the morph brush, and the mohruh erase. It will switch between one of the effects and the other. So one of the stored morph targets and the other, and you're going to be able to blend between each other. So that's also going to give you some nice effects and more natural A more natural look. Again, another really handy tool that you can use to generate and create more interesting looks for the whole for any prop that you might be working on. This coin, for instance, is an excellent, let's delete the morph target, start a new morph target, and this is an excellent way or element to use surface on. I'm going to use noise and let's increase the scale of the noise quite high. Then let's add this porous effect. There we go, like damage metal. I'm going to apply to mesh and all of this happened on the other morph average, so I can just switch back to the original one, switch back or we can blend here with the morph, how much of this damage we want. Let's add a little bit of coin damage there. There we go. That starts to look pretty cool, right? These are just again, guys, examples of things that you can do or you can use to create different kinds of effects on your models. Here, I think I'm just going to use a little bit of time in this video to add some more details. So maybe carved in like a year. Let's say it's going to be like x B, and I. That was the year. And then over here, we would probably write the currency. So I would expect this guys to write the currency in like a sort of like organized Roman method. So let's say this is like a five value coin, right? So I am going to I'm going to do a here. Here's where, for instance, thick skin could work very well because if I turn thick skin on, no matter how hard I do this, I won't be able to go more than 20 units, right? So I can be sure that this V shape that I'm drawing won't be passing the five units. So yeah, as you can see, it's quite a nice way to control certain types of details. So let's do like the two lines over here. Well, that's a little bit. To weird. Let's do them again. There we go. I do want it to be a little bit old, maybe not as clean. Let's make this smaller. Again, we can just combine this two because I know that doesn't matter how hard I draw this, they will never go above the amount of thickness that I have here thanks to the thick skin. So yeah, I mean, that's pretty much it for this little exercise right here for this coin. Let's turn off thick skin. I'm going to start adding a couple of more little details here. Let's go with clay yield. Let's increase my intensity, of course. I really want to damage it a little bit. And you can combine again, as many of the tools that we've seen here as you might want. Let's add a couple of, I don't know, dots or something. Here again, I think thick skin might be good so the dots are flat. One, two, three, four, five, until we hit like that flat plate two, six, seven, eight, Let's change the color. Let's go with a gold material, and we could get a very nice idea of how this coin is going to look. Not bad, right? Not freaking bad. You guys want to do a quick review about poly paint? Let's do it. I'm going to say MRGB I'm going to say color feel object. So now everything is gold, and then I'm going to go into masking and I'm going to do mask by cavity, masked by cavity. So all the cavities are now masked. I'm going to grab this blue hue thing, and let's go for basic material. It's a little bit flatter. And probably a little bit less saturated like this. We're going to bring the intensity down. We're doing RGB now because we want to feel with material with color. And I'm going to say color fiel object like a couple of times. Probably a couple of times a little b too much, and that was 100%. So let's go back to ten. There we go. Color field object. Is that too much? I think the material changes way too much. That's one of the issues of using some of this guys that you can see it doesn't change color. So let's go down here to this Let's do this metallic and let's grab like this yellow color or let's grab a yellow color. There we go. RGB at a 100% color. Feel object, and that's going to be a metallic looking coin. It's a little bit dull though. We have a nicer one. Yeah, this one, there we go. Color field object, there we go. I mean, it's a little bit too saturated. Let's desaturated, again, color feel object, a little bit better. Now we're going to go for this blue huish thing. Again, mask by cavity, bert mask, and I'm going to say at an intensity of 10% color feel object. In that way, we're going to have an old rusted coin ready to be treated printed or using the game. Like you can definitely take this one, give the topology and get it in games. So yeah, let's do a quick render there, and that's looking quite nice. So there you go, guys. I'm going to stop the video right here. This was bas relief and a thick skin. We're going to take a look at a couple of other important tools here instead of Sarah. And yeah, I'll see you back on the next video. Bye. 49. Multi Map Exporter: Hey, guys, welcome back to the next part of our videos. Today, we're going to continue with a slightly advanced topic. So if this is a little bit too advanced for you because you you're starting three D and this is your first course or something. Don't be afraid. I would suggest you still watch it just to know what these things are. But yeah, we're going to be taking a look at multi map export. So a lot of you guys might have some experience in the Treat world and you might be wanting to use vers to add detail to your object. So let's say this is a prop that we want to use for our game or something. We know or those of you that are aware of the game production pipeline that we need something called a high poly and a low poly, which is the highest version of details that we have like this one right here, a quarter of 1 million points, and then a small version that we're going to be using to bake things into. Right now, we don't have that. If I were to check here sub T geometry, we don't have anything. We don't have any subdivision levels, but we can create one rather easily. So the only thing I'm going to do is I'm going to duplicate this coin. I'm going to rename the top coin. I'm going to call this dwarf coin low so that I know that this is going to be my low poly. I only need to go into geometry, C measure, and smesht smesh will automatically try to give me something nice that should be workable. Let's do this. However, it's doing symmetry. So let's remove x so that we don't have symmetry, and I'm actually going to do detect edges. There we go. Let's dynamic solo this thing so that we're only working on the coin that we're modifying. And again, we're going to hit S measure. And measure will do its best to try and minimize the amount of polygons that we have while keeping most of the topology that we might need. So as you can see, we have reduced the coin to 11,000 points, which is about 20 k polygons, still a little bit too high. Like if we wanted to do this properly, we would need to definitely create a nice what's the word a nice topology and stuff. But we can at least go here to half and see c measure, and it should at least reduce this by half, which it's a lot better. So 9,000 points, it's quite nice. And I think we can still reduce it another half. There we go. So this is quite close to what we would expect from this sort of coin. Again, we can definitely optimize this a little bit more. But for the sake of this plugging that I want to show you, the Multi map export, this should be more than enough. So we need to get UVs. And again, we've mentioned, we talked about UVs earlier when we were doing the visor, and the proper way to do the UVs would be to go into Mayo Blender and get the proper cuts and everything. However, we don't have that right now. So we're going to have to do some UVs here with our UV master. I'm just going to say no symmetry and RP. And what AP will try to do is we'll try to generate any. Now, the problem here with this particular coin, If we take a look at the UB map here, it did something like really weird. Can this work? Yes? Is it going to work properly? No, probably not. I'm going to show you a couple of things here with the UB master thing that could work really nicely, and that is that I'm going to try and polygroup this thing. I'm going to grab control shift, click, going to select rec, I'm going to create a poly group on behalf of the coin, like here. I'm going to go to poly groups and I'm going to say group visible. Now, group visible. Do we have a mask or something? That's weird. That's really weird. I'm not sure why it's not grouping something. Let's let's try masking. I'm trying to see if I have anything active that's not allowing me to properly do this. Let's go to mask, mask like half of this and say group mask. Oh, C L M. I didn't have the element active. Let's go back here, there we go. The thing was working properly. I'm going to select this one in bird and just say group visible. So now we have two sides of the coin poly group. Technically, if we go now into C plugging and we go here into the UV master and we click poly groups and hit on RP, it will respect the poly groups. Now if we take a look at the UVs, we should have two coins, which a nicer. This is like an example of what you would have if you were working with a traditional low poly hypo pipeline. Here's where things are going to become really interesting. I need to project these high details that I have here to this guy right here. But in order to do that, I need to, of course, duplicate this at a couple of times or subdivide this a couple of times. I'm going to do control D once twice and three times. Now I'm going to turn both on and selecting the one that's the low one, I'm going to go into project down here and project all. Polypane data, yes, I do want to project the poly pain data as well. And as you can see, it did a pretty nice job. This is our new coin. I kept most of the color, most of the form, most of the shape, so everything is working fine. And now we have subdivision levels. We have our low subdivision level, and we have our highest subdivision level. This coin right here, we don't need anymore, so I'm going to delete. Okay. I'm actually going to save this coin low as a different subtle in case you guys want to start or try this. I'm going to call this multi map exported MME. So this one already has the low poly and the high poly done. Now, the plug in itself is up here in the plugging section, I'm going to duck this over here, and it's called let's duck this one. It's called a mult map exporter, this one right here. And the multi map exporter will allow us to export a lot of different maps that we can use in other software. Like if you're going to use displacement or vector displacement, you can do those. We're not going to do displacement today. We're going to do normal map. We're going to do texture from polypint and we're going to do pin occlusion. This three maps are the ones that we're going to be using to recreate this coin inside of another software such as Marmst in this case. I'm going to select the size. I think two K is perfectly fine. Very important that you flip B because by default, vers does this we B flip. We saw that with the x, I recall. And yeah. Now, another important option here is in the export options. If we go to the normal map, I'm going to say that the lowest subdivision is going to be my subdivision level one. I do want this to be a tangent space normal map, and that's pretty much it. That's the only one that I really need to get. Now, if I say create all maps, I am going to set up the place in this case, Chapter nine, I'm going to call this dwarf underscore. I'm going to call this underscore map. And then underscore that is normal map, space txture map and micti and I'm going to hit safe. What's going to happen is this thing is going to start the process. In this case, it was really, really fast, and we should have created. Let's go here to the project files. Three images. This one's right here. The ambient dclusion is the string right here. It tells where the shadows are very nice duction, in this case. The normal map is where the details are, and the texture map is the color of the object, this one right here. So we've have created the stream maps. The only thing we need to do now is export this coin. So I'm going to go to the lowest subdivision level, very important. And I'm going to export this Chapter nine, I'm going to call this dwarf coin. I'm going to say low because it's going to be my low poly format. I'm going to explore this as an FBX, actually. I like FBX format a little bit better and just heat. Now, if we jump very quickly into Martin set, which is a rendering software, we will be able to plug those maps into our scene right here. Let's open this little thing right here. I'm literally just going to drag and drop my dwarf con low here, you can see it right here, which has none of the details that had the high poly has. We have the material here. We're going to drop the normal map into the normal map channel. And there we go. We get all of the details, all of the scratches, everything in there. We're going to drop the texture map into the alvedo channel, which is the color. I'm going to change the option here from more metals. I'm just going to bring the metals all the way up. So now this behaves more like like a metal, and we can play around with the roughness depending on how much we want this thing to be like rough. We don't have a roughness map. Unfortunately, we will have to take the texture map and convert it into a roughness map, but this one is working quite nice. And then down here, we're going to have the occltion tap where we can add the occlusion, and we can add the B occlusion map as well, right here. So it's going to make it a little bit darker in certain areas. A little bit difficult to tell right now, but it should be working. I'm going to change this to actually, I don't want the RGB channel. But it should be working fairly similarly, but Yeah, that's fine. There we go. So now we can, of course, going into the render, turn on rate tracing, for instance, so that everything gets calculated in a nicer way. If we were to bring the roughness down, you can see the reflection of the world in the coin. But yeah, we would be able to change that. So now, as you can see, my coin is outside of Sirh with all of the maps that represent the detail that Sieberg has. So if you guys don't have a lot of experience with substance painter or Marman set and you want to create bakes inside of Seaberg, The multi map exported. It's an amazing way to do it. There are ways to do this placement and vector displacement. But that would require me to teach you guys about Arnold and Maya and other things. And unfortunately, we're not going to be able to cover that in this course. However, again, just don't forget about this little topic right here, the multi map exported, because you will be exporting maps so that you can use them in other softwares quite often. And yeah, that's pretty much it for the coin guys. We're going to jump now onto a small little exercise for the other parts. But hopefully, all of this information, the thick skin, the bas relief, and now the multi map exporter is helpful for you. That's it for now. Let's stop this video, and I'll see you back on the next one. Bye bye. 50. Bevel Pro: Hey, guys. Welcome back to another video. This is the final video for Chapter nine, and we're just going to take a quick look at some of the hard sur festivals that we're still missing. One of them is Babble P. So Babble Pro is a new addition to Ciber's 2022, very, very recent, to be honest. And I need to do a couple of cuts here to show you how this works. So imagine the word creating some sort of sci fi thing here on this like sphere. So I'm going to go here with my knife curve. Let's make this a polymes three D. Let's do dynamesh real quick. And let's start adding some cuts. Let's of course, turn on symmetry. Let's go to the front, and let's say we do something like this, and then we do something like Anna. Like this, and then we go to the front and we do something like this. As you can see, this is a really, really complex shape. And let's say you wanted to beble a very nice line across the hard surface things that we have to create whatever shape you're looking for. The problem here is that as the complexity of this shape is really, really big, it would be quite difficult to do so. Now, we do have two new tools which we're going to be talking about shortly, the Bblarc and the bl flat. But unfortunately, they don't really work for surfaces as complex as this one right here. Now, this is where ble P comes into play. And there's a very important thing that you need to know about BebleP and that is that poly groups play a super super important role in the proper or correct usage of ble P. Now, ble Pro is going to be found right here in the geometry tab. No, sorry, I I think the sub tool. No, I just lost it. Do do. Where is it where is it? Should be around here. I can't find it. There we go. It is on the on the subtle panel. There's this ble Pro thing. Now, BelePs actually its own little software. So when I click on it, what you can see is, we're going to actually change and go into a different view right here. So this is the BebleP interface. And it's actually quite simple. Now, one thing that they mentioned during the presentation of Beblep a couple of weeks ago, is that you are going to be using something called Balkan. And Balkan is a graphics software that's going to be displaying this thing right here. So if you have a really, really old graphics card, you're probably not going to be able to use it. You can check that on your graphics card provider like web page, but you do need to keep that into account. So, How does this work? Well, as you can see right here, we're getting this, like, red thing that's showing us where the bbble is going to be occurring. And we can change this ble by changing a couple of things over here. For instance, we can change the bbble amount, make it really, really big, or make it really, really small. We can change the ebble smoothness, whether we want it to be like, really, really sharp or really, really smooth. If we go here, you can see that the ebble changes slightly, and we can change the poly group angle to detect whether or not a poly group is happening or not. Now, the mesh edge resolution, if we increase this thing, we're going to get a closer effect right here. Now, one thing here is, right now, if I were to hit just okay, what's going to happen is that I'm going to be inserting a new element over here. Let's turn off polyframe and you can see how the bubble is actually working. You can see all of my nice lines are getting there. But this is because we're activating light bullions and the bubble pro created this weird mesh right here, which we extract, you can see right here, is creating this weird mesh that's extracting itself from this main shape. So when we turn this on, both of them on, of course, Oh, yeah, there we go. You can see how this divides from the other one. Now, unfortunately, we do have a couple of points there that are not doing exactly what it wants. So we need to go back and fix them. Let's delete this cage right there, and let's go back to BebleP and you're going to be able to identify those points very very easily. Because you're going to get these weird effects over there. So, what should we do there? Well, if you get that, you need to start moving this thing called the mesh offset. And the mesh offset will change how the mesh is behaving here on your effect. Now, the more complex the object is, the more difficult this could get. The red area is the width of the actual ble itself. And yeah, so right now we have a very big width offset. That would be like a really, really huge bbble. And here we can control how much bell we want. What you want is you want to make sure that you don't have any, blue points. You want to see the red pretty much going throughout the whole thing. Like, if you see the red covering all of the corners, all of the edges, like, see how there, there's not enough red. So we might need to increase this a little bit more. I'm actually going to bring the edge resolution down. There we go. Let's increase this a little bit more until we see all of the red covering the thing, there we go. That seems to be working a little bit better. Let's check other places. I get a little bit tricky there because it's a very specific corner, but it should work fine. Now, right now in the past example, I just hit k over here and it just created the mesh and I needed to apply the What's the word divulan? You can actually go here to auto apply, and they will apply debulon for you. So when you jump back, you're going to get this. And look at this. Look at how sharp and nice all of those bubbles look. Now, unfortunately, we are using live bullion. So as you can see this is a live bullion now. If you wanted to keep on working on the edges and stuff, you'll probably have to polish this, do high resolution and dyn mesh and hope that the edge holds nicely, right? But if you just want to add like a general edge loop or a general bubble to the whole thing, deblps amazingly amazingly good at what it does. And again, remember, it's very important that you have poly groups. Like for instance, let's Go back here and let's say we want to another one over there through a whole element. Again, try to do a bubble on that line right there and it will be almost impossible. Now, if we were to go back here to poly groups and group everything group visible. Right now, everything is a single poly group. If I try to go two and bubble P, I'm going to get this message. It cannot be executed on a single poly group. However, if we have multiple poly groups, it should be very easy to just jump into bubble Pro. The little software loads. We get this. We just it auto apply and heat, and there we go. We have our nice little bubble along that curve with the proper brake and everything, and we get an amazing piece that we can keep on working with. So amazing amazing tool for heart surface things. We didn't really use it on the helmet because I was trying to keep things a little bit simple for the first introduction to heart surface. We actually do have another hard surface course specifically for Sivers where we go a little bit more in depth into different techniques that you can use for the prop making so. Make sure to check that one out if you're interested. And yeah, that's it. Now, let's jump onto a cube to show you how the little Bble arc works. Actually, no, not the cube. I think we can, yeah. I'm going to have to do it on the cube first, and then we'll do it on something else. We're going to make this potts dynamic. And the Beble arc and BbleFlat brushes are really, really good when you have a straight surface like this one right here, because what you do is you just draw a line across the surface and then you go back. And when you go back, you're going to be drawing the Bble. Now, for this one, I do recommend having a big brush and when you do this and then go back, look at that. We're just flattening everything to that like first dimension that I did. That's why, again, I really recommend a big brush. So the brush really doesn't matter. You can have a gigantic brush. What matters is the distance that you draw here when you cross two sections. Because when you go back, that's when you get the bevel. T. So per super fast. Super super cool. So it's really, really nice because, again, you can just like cross a surface, and there you go. You got a beble cross the surface, and there you go. You got the beble and you can create amazing little like fast bebles that way. The bble curb works exactly the same way. The only difference is that you're going to get a curb surface. So if we go here, you can see that as we keep pushing this, we're going to get this very nice round edge. And he knows where to stop. Like when it sees that the surface is no longer, like, perpendicular, it stops and you won't be able to add like any more details. But again, Look at that. That would be very difficult to scope by hand. So the b or arc brushes are really, really good to create this sort of effects. So right there, it's best to fit into the object. The only problem with this one is, of course, if you're going into complex shapes like this because even if we do dynamish and we try going over here, yes, on the first segments going to work, but as soon as we start going down, you can see that it's trying to project the whole thing all across the surface. So it might get a little bit difficult. Now, one thing you can do, though, is you can actually mask out. Let me go here to mask mask pen. You can mask out certain areas and then create the bel and it will stop on that area. You might get some weird, of course, like pinching and stuff. But if you just want to add like a soft little like veble over here, keep it like really sample, like a nice transition, it might be a nice tool to do. This I think we'll work a little bit more in this sort of like organic scipsurface things that I was talking about. But whenever you're doing this sort of stuff, like, really perpendicular lines that you want to do, it's going to be really cool. Another cool little trick here, for instance, is we could grab like a section of the object like, let's say, right there. And if we do a ble arc, it will stop at that section, see? So it knows that it needs to stop at that specific section and we'll get a very nice clean cut that if we have polished active and dynamise, we can clean up that later. I've seen other people do this sort stuff where they like mask a couple of areas, and then you go across, and it can actually it understands that it needs to leave those areas alone, and you're going to get this interesting shapes here. Again, remember that one of the key things is to have a really, really big brush so that when you do the pass, the pass goes really, really fast, and you get the exact sort of dimension that you're looking for quite nicely like that. So, yeah, these are the ble brushes. This is Bevel P, and there are relatively new additions to the interface to the CBR software. Hopefully, this little tools. I know that we didn't do a specific project, but it's important that you guys know that they exist because you might be using them later. So that's pretty much it, guys. We're finished with the Chapter nine, which was this, like, sort of filling in some of the gaps of the things that we were missing. And now we're going to jump to Chapter ten, and we're going to be doing a full project. It's going to be a small project, probably going to be like about 2 hours, but it's going to be a project where we're going to be taking literally just this sphere and converting it into something amazing. So, hang on tight, and I'll see you back on the next and final chapter. Bye bye. 51. Alien Concepting: Hey, guys, welcome. Welcome to Chapter ten, the final showdown, the final part of our course, and one of the most fun chapters that we have planned for you guys. So today, we're going to be doing a full process with Nathan. We're going to be doing from the base mesh, primary forms, secondary forms, details like every single thing that we've explored so far, and we're going to end with a nice final composition inside of Photoshop. So if you're not familiar with the photoshop interviews, do not worry. I'm still going to, of course, record it for you, but you can still get all of the information here from Seers. So today, we're going to start or in this first view, we're going to start with the concepting part of things. And of course you could just look for alien concept and try and do something that you see and find to be cool. However, I think you do learn quite a bit from trying to create your own creature, okay? So what I'm going to do here is, I'm just going to look for cool animals, just like that. And let's see if we can find some sort of inspiration. By the way, this is not scripted. I'm not really sure what we're going to be doing, we're going to be creating something. And I don't really see anything interesting. Like, I've seen this fish before, which is a very sad story because apparently, these guys get the pressure on the surface is way bigger so they inflate but that's not the real form. We could do like an octopi or something like that. But you know what? Let's go a little bit more crazy. Like, if we look for cool I don't know, fungi, for instance. We can find stuff that is also really, really interesting. And every single thing that nature has to offer, we can use as an inspiration, okay? So, right now, what I'm doing is I'm just filling my brain with ideas, for instance, I really like this sort of thing where you have a lot of different holes and stuff. I think we can maybe incorporate something like that. Let's look for, like, cool minerals, for instance. And we can find, again, interesting stuff like this sort of, like, rock formations or this sort of like rock formations. Like there's things that we're going to find in D, look at the colors, this look amazing. So you can grab as many images as you want to create some sort of dation. So this process that I'm able to show you is one way that you can start doing it. And I'm just going to grab my mood brush, and we're going to be doing a bust, of course, because otherwise, it will be like a full course and just doing like an alien. So I'm thinking that this is going to be a relatively slim alien. So so I don't want to do a super like tanky one. I'm not sure if I want to do creepy or, like, cool. I think I'm going to go for, like, the cool factor. So that's going to be like the neck, let's push the face up here. I'm going to use my inflate brush to give this thing a little bit of volume word dynamic so at any point I can just like dy mesh and soften this up. And yeah, just play around with the forms. This is one of the cool things about Seers since it's such a fast software to do this sort of stuff, like, you can very easily create or find shapes and forms inside of your object. So, so those kind of look like the shoulders to me. I'm just going to add them real quick. I kind of like this, like, weird neck, weird neck shape, so maybe, like, it has like a multi like segmented neck and he can kind of like like a stabilization camera. He can move around. I think we're going to go for something like that. Ciltts again, one of the most important things about creature creation. So you can decide to go for, like, a very traditional like humanoid shape where it's just like like dado shape here, or we can try and explore different ideas. So here's where the snake hook brush comes really handy. So I'm just going to go here with snake hook. It's going to say that it works best with cpspro. I'm just going to say, Okay, fine. We're not going to use it just yet. And we can start pulling and pushing things to create interesting effects. So maybe something like that. Now, going back to, like, the mushroom thing that we saw, I think it would be nice to have like a dome like shape over here on the head. There we go. I'm not sure about the neck now because the head is really, really heavy and the next looks a little bit weird. I'm going to use tmdynamic to maybe give it a traditional look. Here's where of course, knowing a little bit of anatomy, a little bit of proportions and stuff can really help to make sure that the designer you're coming with really works, right? I'm thinking about maybe a female alien. I haven't done a female alien in a while. So if we're going to do a female alien, we might as well refine the shapes a little bit more. Yeah. I think a female alien might be nice, like a female fungi alien. I think that would be cool. I really like this shape. Let's turn off the dynamic perspective so that we can take a better look. Now, I don't I'm not going to add little ******* to the alien here, but I do want to add like this sort of like feminine or traditional feminine silhouette. So I would expect to see some neck muscles coming down here. And this is just again, this is just the ideation. This is the ideation phase that we need to follow, I really like those shapes. Let's bring the trapcus muscle down a little bit. Look at that. That looks cool. So now I'm thinking about, have you seen Blade Runner? I think we've mentioned Blade Runner somewhere. So in Blade Runner, there's there's this girl. I don't remember her name. Rachel. Blade Runner, Rachel. And she has a suit. And the suit that she has, it's a very, like old school suit with, like, super super, like, defined shoulder pads. I'm kind of getting that bib here, which I really, really like. However, I'm not too fond of the head, and here's where we're going to be again, using some of our tools. So I like where the head position is. I like the head position right about there. But the neck shape looks really, really weird. So if we want, we can just go here. Select. Select lasso. Let's select the neck. And delete, delete it. So now the head and the torso are like a separate piece. And now I can go v. Remember the curves, we have this. There's actually a B, and we have a curve brush like this curve flat or flat snap, this one, curb tube. So I'm going to go to the mid section here and just track down. Make the brush smaller. A smaller. Now I can move the sting around and play around with how I would imagine the neck to connect. I think going forward, like a traditional neck is a good idea. Just dy mese the sting. Of course, we're probably going to have to add a little bit of volume here to fill in the gaps on both sides, of course, as you can see that that works nicely. D to make sure that everything is stuck together. There we go. I'm not sure I like this guys right here. Maybe even Let's get rid of them, and maybe let's get rid of a little bit of the delete headen dynamis and there we go. We're going to get some weird shapes. Again, this is one of the cool parts about the pole process, and a lot of conservart do this sort of thing, where they'll just imagine how things will look. I'm thinking about like a flower. You know how the flowers create this sort of petal effect. So I think it would be nice to have a nice little crown here. I'm getting inspired by again by fungi stuff. So this is like a fungi lady, maybe like a fungi queen. Let's bring the neck connections forward. Let's get rid of some of the elements here. We're not going to see the arms all the way to the back. I'm already thinking about the composition. But we're probably going to see a little bit of them. So it might be a good idea to just mask these things out and just bring the arms out like this. We're going to do a little bit of sculpting with them. Not a lot. Just a little bit of detail here on the upper tarsopso which is what we're going to be seeing the most. There we go. So this is roughly the shape that we're going to be we're going to be going for. Now, it kind of reminds me of this like like like a flower creature, right? So let's see how we can repeat like this nice crown pattern that we have there somewhere else. So I think I'm going to be doing it. I'm going to use my mood brush again. I think I'm going to be doing it right here on the shoulders, like going back, kind of like if she was wearing, like a cape or something, but it's just like part of her body, right? So it kind of rights the clavical muscles. And it creates this nice little shape. So you might not see it from the front as much, but on the back, you're going to be able to see this sort of like nice formation. Now, I'm going to start adding certain things that you would expect to see on a humanoid, so like a spine. Therefore, we can expect to see the spine group over there. And all of those things are going to make it a little bit more familiar for anyone looking at our concept. See that little thing right there. That's where it's going to be really weird when I'm able to say. But once you get enough experience with sculpture, the sculpture kind of talks to you and you're going to see things that are not there yet, but that you feel like they need to be there, right? So for instance, here, I'm seeing this sort of like details going to be like it's going to push the external lato mastoids muscle, and it's also going to help me to further develop the sort of like plant like plant like creature. So there we go. Yeah, Let's keep pushing. So I'm going to push the arm a little bit to the back. We need to refine some of those things later on. And on the chest, I want the chest to be really flat here first, and there's going to be a little bit of volume. Again, we're not doing any sort of, like, breasts or anything, but I do want to add a little bit of volume. Do we have, like something weird here? I feel my a little bit weird. I would expect to have some sort of like a ribcage. There we go. Some sort of rib cage right there, and then we would expect the stomach, stomach, stomach stomach. That was very pot for my part. There we go. We have a muscle back here called the tsmus doors I would expect again to see some sort of indication over there. The pectoral muscle, which comes from here goes all the way to the arm. Here in the arm, we have a very important muscle called the deltoid. Let's do that very sharp deltoid. Okay. And again, I'm already thinking about the final composition, it's probably going to be something like this, like slightly looking up or something, and that's all we're going to see. So this is all of the things that I really need to think about. Okay? So I'm going to stop to do it right here, guys. I think this is a really, really nice ideation. If you want to keep exploring, if you want to really go to town and spend 10 minutes on four or five different options, go for it. The more exploration you do, the issue it's going to be to find something that you like. In the next video, we're going to be working on the primary form. So I know we've already detailed a little bit of the character here, but we're going to be doing a little bit more like more definition, where the eyes are going to be, where the mouth is going to be, all that kind of stuff. So, hang on tight, and I'll see you back on the next one. 52. Alien Primary Forms: Hey, guys, welcome back to the next part of our series. So we're going to continue with the primary form. So yeah, let's get to it. As we saw in the last video, this is looking quite nice. I really like the idea. There's one thing that's bothering me a little b, and that's the size of the head. I think it's a little bit too big. So I'm going to go with mask. I'm going to go mask lasso. We're going to mask all of this head right here. And we're going to move the pivot point to the base of the neck. Remember with alt, and we're going to scale it down just a little bit. So it looks a little bit more you know, proportional to the rest of the character. Maybe a little bit more. Sometimes when you do small features, it looks a little bit more realistic because it's closer to reality. If we do like big blobby heads, we start to go into the cartoon realm. So this sort of like shapes that we have here, I really like those curbaturs that we have there. So I'm thinking about having the eye right about there. Again, we're going to do like this almond shape, sort of like yes to give it this sort of like friendly, friendly bib. I don't think we're going to have a nose. So no nose for our character, but I would like to have a nice little mouth here. So I'm going to go with diming standard. I'm just going to I'm going to give it like this sort of small mouth. It's going to be right about there. Still not defined. We're going to define a little bit again more more feminine. But yeah. Now, see how this shape is looking a little bit too flat. This is where proportions and in general, understanding of form can really come into play because we can push this out a little bit and it's going to immediately make it look like this sort of like sharp features are going to immediately make her look a little bit more feminine. I'm going to push the corner of the eye out so that we see it a little bit more like frontal when we see the front view, we can see the whole eye. This is important. In the sign as well. When you have a character that has the ice like pointing to the sides, that usually indicates that the character is some sort of like herbibore or that he needs to be aware of its surroundings. When you have a character that has the ice pointing forward, that usually means that it's a predator and needs to be looking towards his prey. So that's a little bit of the sign principles, but they can very nicely apply to this sort of thing. I'm going to make the mouth smaller. Getting a little bit more refined. I like that. I'm not sure what these things are, though. They kind of looked to me like like a roots or something. You know, when you cut, like a plant. So I'm probably going to separate them from the face. Because they do look to be like a separate piece. It's kind of like the sgomtic arch. So we're going to just schedule quick there what we imagine. Now, up here, I definitely want to use my snake hook again, B that's not BSHt's now BS Scott, they changed it. K. Weird. And we're going to add a couple more little points over here. Again, it's kind of like the crown of a rose. I'm really thinking of, like, a rose. The whole plant like shape reminds me a lot of a rose. So let's maybe add a group there. It's going to give you a nice primary form. And even though we don't have a nose, we indicate that there's some sort of something there, and it makes it again a little bit more relatable, right? Now, for instance, up here or down here, we have the pectoral muscles, and of course, I don't think plants would have pectoral muscles, but we have some sort of things going in the general same direction, right. So I'm going to start adding some fibers that represent how I would expect this creature to have its pectoral muscles. It's a little bit flat right now. So I am going to keep it a little bit more like bust again to indicate that it's a female character. Of course, you can push this sort of like characterization as much as you want. You can make it really, really intense or really really subtle, depending on the kind of character and the kind of content you want to create. I'm just going to keep it subtle. I don't want to go any extreme. And again, I'm thinking about the final composition, which is going to be roughly like this. So I do want to make seem that there's she is a female character, but I don't want to be on your face, female character, right? Now, the delt muscle, it's a muscle that I really like. It's kind of like this roundish shape, and it creates a nice little border here. So I'm really going to push it there. And then it kind of carves in because we're going to have like the like the bicep. The bicep is going to be coming from the inside of the arm, from the armpit, it's going to be coming out and here. Now, I don't really need and that's again, one of the great advantage of doing like aliens. You don't really need to have perfect antemy because at the end of the day, you can justify by saying, Yeah, that's their anemy It's a little bit different from ours. So you really don't need to have a perfect antemy. But if you get close to what we have in the real world to what a real human or real creature has in the Earth, it makes a little bit easier for people to buy into your idea. So for instance, here, on the tricep, I'm just going to push this tricep down. Again, as you can see that the arms kind of look like arms, right? Like the flow of things that I'm adding suggest that they follow a similar anom even though we're not going to be seeing like the bottom part. So we're probably going to be cutting right about there, and you can see how the arm flows nicely without the need for me to really, really detail. I'm doing this sort of like a bark texture, which I think is looking quite nice. Now, here again, talking about primary forms, I'm definitely going to push the clavicles. Those are really important. So they're going to go all the way over here. Let's say like a little bore there there. There we go. Clavicles are like bike handles. So they're going to go in there and then back here. And that's going to allow me to separate this cross thing that we have up here. I'm going to use my demon standard to start defining this division here. I want this to look kind of like a dress. Let's increase intensity a little bit, so we can carb in a little bit more. Remember, we're still in dynamise at any point, we can change change things around. So this is like the muscle that's going to be coming from the top. Let's create a little bit of a cavity there. Same there. I want to hollow out that thing. It's going to be a branch, like a steam. I steam or is it stem? Probably butchering the word there. There we go. And then we can make these things like flow into the I really like this sort of like the sign. Again, it reminds me a lot of the roots of a tree. So I think we're in a good path. Now, unfortunately, even though we did talk a little bit about the sign, we can't really go in depth and it's going to be a little bit difficult for me to explain every single reason why I'm doing all of the changes that I'm doing on this guy. But just remember that every single thing that you have seen in your life, movies, comic books, video games, animus, anything that you've seen will inspire you in some way. So this creature that I'm creating right now, It's probably a mixture of a lot of different creatures that I've seen in the past, and I'm just like projecting them over here. So it kind of reminds me a little bit of grout from guardians of the galaxy. It kind of reminds me a little bit about you guys remember Lilo and Stitch, the big alien, the main alien that goes to Earth. So there's a little bit of everything, right? And we've mentioned this before. It's okay. Like, it's okay to gather inspiration from different places. The thing that's not okay, is to rip off an idea. Like if I started doing something that looks exactly like the inspiration that I'm looking for, then that would definitely be a problem, right? So so make sure that you use inspiration or that you follow your inspiration, but don't go stealing anyone's work, okay? So yeah, I mean, this is looking good. I think the chest is looking a little bit weird. So let's do a little bit of fixing here. Usually, you would expect this to disappear. I think I'm going to go again following a little bit of what I just mentioned. Good has the plates. I'm going to make the muscles like plate likes. There's a couple of muscles down here that are little fingers. Let's add them and then let's add a nice little border on the pectoral group or the tropics rather. See this shape right here. It looks a little bit too masculine, masculine, I think. I'm going to bring this in bring this out. Okay. Let's get this closer to each other. Let's dy mesh. I think the Delta it looks a little bit too intense as well. So I'm going to make it smaller. There we go. See how that makes the shape a little bit more feminine, I think. Colors, of course, are going to play an important role. We are going to be poly painting this thing later on. I think now that I see this shape, I would like to do breastplate or something. We're just flows into the body like this. And have fun guys. This is the final project. So you're now at the home stretch. It's a moment where you're going to be now proving not only to yourself, but to everyone that's going to be seeing your portfolio, that you know Cushion, that you know how to create amazing stuff. So so feel free to explore, to create interesting things to play around, if you want to add very extreme things or very simple things, go for it. You can do a cartoon character, like a stylized character. You can do like a realistic character like what I'm doing here. Like you're free to do whatever you've seen fit. I'm showing you this process because I want to make sure that all of the tools that we've been talking about throughout This was it over 10 hours of content are, of course, remembered. So that's what we're going over again, primary forms and everything. Now, as you can see, I have not increased the dynamic resolution in quite a while. We're still working under 200 k triangles, and that's one of the main principles. We talked about this very, very early on. One of our golden rules is never go up in subdivision or in detail level unless you're really, really need it, okay? So you're going to maximize or you're going to use as much of the space as you have before you jump onto the next one. So let's go here. I want to create those sort of elements there. Nice. Yeah. I really like it. And I like the fact that the head is really soft and really smooth. We are going to be adding some details, of course, but I want to keep the body a little bit stronger and the head kind of like I'm not going to say the weak point, but just like the base stuff. So let's go sub two. Let's do the ice. I'm going to append a couple of spheres. Of course, we're going to move this sphere to the upper area. Let's make it smaller. There we go. Rem, we talked about this. Smaller eyes tend to go or tend to fare better when you want to do realistic characters. This eye will definitely have slightly different shape. It's not going to be perfectly circular. So I'm going to make it like that probably. There we go. And then I'm going to go plug in, subtal master, and we're going to mirror. We're going to hit. And let's grab a dark color. I'm going to change the material, something a little bit reflective like this at chrome material. I'm going to say RGB RGB intensity all the way to the max. I'm going to say color field object. Now we go back to a start material. Oh, yeah, I worked. There we go. I'm not sure why we're not seeing the reflections, though. That's really weird. Let's try another one. We have a mask. Uh, that's really weird. Okay. Let's try this again. So color field object. There we go. That's better. Go back to start our material, and that way we can see the eye of our creature even before we do any poly paints, doesn't this guy look a little bit more girl? Doesn't she look a little bit more real now with those little things? I would say so. So I'm going to stop right here, guys. This is the primary forms pretty much done, like a general sketch of our character. It's looking nice, I think. And in the next meet we're going to start working on secondary form. So we might need to increase the resolution a little bit. But as you can see, things are looking quite nice. Hang on tight, and I'll see you back on the next one. Bye. 53. Alien Secondary Forms: Hey, guys. Welcome back to the next part of our series. Today. We're going to be working on the secondary forms of our character. We're going to continue here, and I'm going to pay special attention to the head right now because as you can see, it's really not as defined. I'm definitely going to double my resolution. Let's go to 320 so that we can start working a little bit more on the character right here. So for instance, for the lips, now that we have a little bit more resolution, we should be able to carve in some nice feminine lips right here. Again, I want to keep it friendly. I want to keep it simple, so somebody is going to do, very, very simple lips. I'm going to press with my demon standard to create a nice little definition here. A couple of little mouth or corners in the mouth right there. And there we go. That's just the base, as you can see, just like that. Super super simple and we already have something that looks cute and nice. We're of course going to be refining this a little bit more once we go into tertiary forms and details. But this should be more than enough to give us a nice little feminine impression. And I think it does. It looks a little bit weird down here because it's really, really detailed, and then the head is really simple and soft. But I think it kind of adds to the whole thing. Now, I'm going to start adding some facial features here. I'm going to add a little bit of a mouth bag over here to imply that she can, of course, talk. Usually, you get two small little bundles of fat right here, and then we're going to carve in a little bit of this area. We don't want to exaggerate it, though, because it's going to start making her look a little bit old, and that might not be something that we want. For the eyes, I'm actually debating whether or not to keep her eyelids. I think some sort of eyelids, but we need to make them like a really, really, really nice and stylized. Like this very long, kind of, like, eyelashes. See that I like. But I'm not sure about eye bags. Should we Again, maybe something like this, really sharp and nice? Yeah, I like that. So I would guess this would go down here covering the eye. I'm not going to give her a tear duct, I think that would be a little bit too much, but I do want to make it seem like this lower eyelid is going beneath the upper eyelid. So as you can see now, we can work in this secondary forms. Now, some of you might be wondering, could we do the subdivision method that we did for the min to get a nicer effect? Yes, of, of course we could. I don't think that we needed to do it right now because most of the forms are following nicely, but if we see that we're struggling with some of the elements, I would definitely go for it. So here's where I'm going to start dividing this nice shape that we have here. I think we can really create like the division here on the face. And I'm guessing like this outer part is going to be like this is going to be the soft part, the inner side of the flower character, and all of this is going to be a little bit more like armor, right? So I'm thinking about adding a couple of lines here to really emphasize that this is like bark or a stronger material from her from her body. I really like this cubaty as well. So let's accentuate it. Looks kind of nice. Let's just dynamic BTD trim dynamic to to blend this a little bit. So it's not like all super intense with the clay build up. Yeah, I like it. I like it. I think we're good position, as I mentioned, guys, this is not script. I did not practice for this alien. I'm just going with what we get. This is one of the funnest parts about Cp. The fact that you can go and create this amazing characters super super fast. This one, since again, I'm thinking this is bark or something. I'm going to go with them standard, and let's start creating the loop to emphasize that this are tree stumps or something. Let's really cut here. We'll start adding, like, the knots that we would expect to see in this sort of thing. Again, just secondary forms. We're going to be polishing all of this later on, just to give myself an idea of how this thing is going to flow. I'm going to keep it simple, though. I think it's a little bit too much like too harsh. So instead of like a tree stumps, more like when you cut like a flower and you got the inside of the membranes of the flower. Now, up here, we definitely need to define some sort of boundary. So I think we're going to expand a little bit to the inside, and we're going to follow the sort of like tree root effect. So I want to kind of follow the shapes of the crown. And create some sort of like patterns. Again, like if there were roots. That looks cool, it gives her a little bit more of a royal effect or royal presentation. I'm going to push this thing upwards actually to give it rounder and we can even push the side, that's a little bit too much. I really need to make sure female faces usually have very round forehead I need to be very mindful of keeping that nice round forehead because that's going to make her look pretty and stylized. There we go. Yeah, that's looking good. Looking good. Now let's keep on refining some of these areas right here. I'm going to start carving in a little bit here to signify that this is a transition into a different material. Very, very important. Material definition is one of the hardest things to do in three D, but the same time is one of the most important ones, especially in sculpture. Like with just the sculpture, I need to make sure that people understand that this inside part that we're working on right now, it's soft, and then the outside part is a little bit harder, right? So for instance, here, I can use my clay build up to build a couple of pats. Like imagine if this was fat pats or something, and those fat pats are going to help me sell the idea like cushions sell the idea that all of this area is really, really soft. I just smd all of this out. And there we go. Yeah, I like it. Do we add a nose? Maybe. I mean, it's very easy to add a nose to this creature. It's just a couple of dots over there and that should be good. Again, thinking about the general how this thing is going to be post, and it's probably going to be a lower view and then her looking sideways or something. I think that's going to look really nice. Now, back here, we need to think about this whole crown thing, and I'm probably going to be segmenting it. So this is going to be probably split, and then we're going to have what would be the scapulas of her character. Something like that. So in case we were I'm already thinking about if we were to ever animate or rig this girl, how would she move, how would she interact and stuff. All of those kind of stuff you can already think about when you're designing so that you take those into consideration because you eventually want them to come to life, right? Like you want them to do something on screen on a video game or somewhere. And that's why it's important to consider how we're going to make that happen. There we go. Looks like a female group. I'm not convinced about this lower part just yet, but we can. We can keep exploring and see how this looks because I think this upper part looks nice, really cool. But then once we get here, it loses the appeal. The femicity gets lost. Let's get rid of it. Let's see if we soften this up. Let's see if that helps. Yeah, actually that definitely helps. It was a little bit too much detail, I think, and we can still add the indication that she's a female of the species. Not a female grout because, again, I'm trying to give the sort flower effect. Even here on the deltoids, we might want to reduce tri dynamic a little bit of the details and make it look more like branches rather than than like bark. Because I think that's what's giving it the sort of grout vibe, which is not what we're going for. There we go. That looks a little bit more. A little bit more interesting. Let's use string dynamic here and keep going. I'm trying to keep this relatively brief. I want to take my time, of course and show you guys all of the process. I'm not going to be skipping ahead. Don't worry. But yeah, as I've mentioned several times already, this will take time. I can't take forever. I can do 8 hours of just this character because then it will just y. I don't think it will be be boring, but this is mainly a CPRs course, so we're going to be going over the whole process. We're going over the whole process. So I'm more interested in making sure that you guys get the whole process on this character, even if that means that we can't polish it all the way. But normally a character, if you ask me how long does does a character usually take in production? It can be from one week, two weeks, all the way to a month, two months. It all depends on how nice you want the character to look because there are some characters that really really takes some time. I believe they asked the same question to Rafael Grassi, one of the greatest character artists out there. And he mentioned that, for instance, for credos for Gulf War, it took them like two months or three months to get just the model ready. So yeah, it can be time consuming to do a character from scratch and and get it ready for, like, a game and stuff. So, so don't be impatient. Take as much time as you need to polish your character and your creation and to make sure that it looks as nice as possible. Cool. So I think we're going to stop right here, guys. I think we're in a really, really good position now. As you can see, most of the character has a detail everywhere. And I think we can jump out into a little bit of tertiary detail. But for that, we're going to be using the subdivision technique that we saw with the miniature because we definitely need to clean some of the topology so that we can get to some very, very nice detail levels. So yeah, hang on tight, and I'll see you back on the next video. 54. Alien Tertiary Forms: Hey, guys, we'll come back to the next part of our series. Today, we're going to continue with the alien, and we're not going to jump onto the tertiary forms. So you guys remember tertiary forms is when we start adding the main wrinkles, like a better definition on all of this, like nice crown that we have over here. We definitely need a better resolution because even though we are above 1 million polygons, due to the nature of dynamise we know that it usually doesn't follow nicely with the flow of the topology. So I'm going to duplicate this guy to create a copy. And then on either of the copies, normally, I use the top one, but you can actually use the bottom one. It's totally fine. You're going to go into geometry, C measure and just hit C measure. It should find most of the main lines and just follow them through. Remember, we do have the option to add the Si measuring guides to help find some of the main flow. But if I take a look at this one, you can see it's pretty much perfect. Most of the things that we're looking for that I'm looking for, are there, so this is going to be just fine. Now, I do need to divide this a couple of times, well not a couple of times several times until we get close to the million polygons that we have. So that should be more than enough. I'm going to go into subtle. Turn off the eyes so that we don't project them. Select the one that you're going to project two, And now we just go here to project and we do project all. And what this will do, we know this. It's going to take all of the detail from the other sub tools. In this case, the dynamic sub tool, and it's going to project it to the main tool. Now, this one right here, which is the dynamic one. We don't need it anymore. We can delete it. And remember, at any point, you can go back to dynamish. So if there's something that you want to change later on, you can do it with no issues at all. So let's go here. I'm going to grab my demon standard. The first thing I want to do is I want to really separate these things right here. But here's where I'm going to be able to. I'm actually going to get one more subdivision level, so we're 4 million now, and we're actually going to create this nice little like efects right here. Again, this is tertiary detail. That's why we don't do this until we're really, really sure that we want to keep all of these elements. It's going to be like my crown decoration. There we go. I'm keeping it very loose, very natural. I could turn on what's the word? The Lacy mouse, but I want to have this sort of effect. There we go. Okay. Let's keep going forward, for instance, here, even though we don't have it or we don't have a spike. We can just add a little detail. It's make up. It's going to add those very nice effects. I'm tempted to even add over here, and then just work with what I have here with my topology and push this up a little bit. Dynamic mean standard again and just push it so that we can create that nice little effect. Let's continue going over here. This one, let's push it to the other side. And then we just continue filling the sand until we get this. There we go. Nice, right? Now, I'm going to use my snake hook, even though snake hook is usually very destructive. B SK. I'm just going to use it to really point these things a little bit more and create this nice thorns, right? It's going to change the silhouette as well and give it a very nice effect. Let's turn on the ice. Let's go back here. Turn it on the ice, there we go. I'm actually going to move the shape of the ice a little bit so that they match the ice that I inserted a little bit more. That's nice. And we can adjust a couple of main wrinkles here. Again, long, nice, flowy wrinkles to really push the flowery effect. I do want to add detail. We're going to be adding a little bit more detail later on. It's going to be careful on how and where we add it. Here, really push this thing down. Now since we have more geometry, we can actually work on the lips. Here's where I would go mask lasso, mask the lips so that bers doesn't have to worry too much about the whole geometry, and let's do a little bit of work. Lips, you want to go with the dimen standard and sharpen them up on the border here to really separate them. Lips usually have a nice little triangular shape here, and then another little path going to the side. We want to add more detail to the lips, we're definitely going to need a little bit more geometry, so we're going to have to jump all the way to 20,000 polygrams or something. I don't think it's necessary because she has really, really small lips, but you can see how nice we can sculpt all of this for her. There we go. Usually here in the corners of the mouth, you're going to have a little bit of a fatty pad. We call this the puppeter lines. Again, the more intense you make them, the older the character is going to look. So we can go a little bit intense there. She's the queen after all, right? So she's we definitely want to segment her face. So I'm going to find a line right there. Let's polish some of this stuff. Because most of this thing is going to be a different color. Eventually, when we get into colors, we're not talking about colors yet, but eventually when we get into the poly paint and into colors, we definitely want those areas to be to be a different color. I know that this center line is going to be specific color and then everything else is going to be a different color. It's probably going to be like green and then red or pink, and then some brownish or yellowish tint. We're going to have a little bit of every thinking. I think we're going to have quite a bit of fun on the colors as well. Let's go here. Let's get a little bit more detail on this guys right here. They're like borders. We can just soften them up and give it a little bit more definition. Very mindful here how they're going to be flowing, small little lines here, and then smooth. We can even go back like a subdivision level because I think we haven't used all of the resolution that we have here to really push this stint in. I'm going to start adding certain elements. I've seen some roses that have dos every now and then, like little holes in the construction. So I'm going to add some of them wrinkles, like if there were wrinkles. There we go. You always want to be rotating things around and checking how it looks from different angles because that's the kind of thing to do. That's where you're going to be noticing other effects. Now here, let's have a little bit of support because we really don't have anything here. So just like a weird looking form. Same thing here, for instance, we can follow this along and start creating a nice little pattern that goes into the thorns. Just to have something, just in case anyone looks at this side of the character, we're going to be able to to appreciate something there, right? That's one of another of the rules from sculpting, especially in Tre D. Usually in traditional sculpting, if your sculptor is going to be resting against the wall or something, you can hide things on the back because no one's ever going to see it. But in treat sculpting for a game or for a movie, you really don't know where the shots to be coming from. So you definitely want to be sculpting everything. So this is what I call just adding form, just letting, again, the sculpture tell you where it needs things to flow into, and it's just going to add like visual interest to the whole thing. There's no need to think about anatomy that much on this particular character because again, it's an alien, so we can justify a lot of things. But you do want to keep things looking again, proportional and nice. Let's go to this guy right here. So those details right there. I really like those details. I know I said that I didn't want to do plates, but they just look so nice. I'm just going to use my demon standard here too to start carving a little bit of that because I definitely think it makes it look really really cool to be honest. So it could be pieces of armor. Maybe you know how queens and kings sometimes were like ceremonial armor. So maybe it's something like that. She's wearing a couple of plates to ceremony or something. That's one thing. I don't think we've talked about this before, but it's always good when you add the story to your characters because you're not only going to be having fun from the actual, sculpting process here inside of Seb but you're also going to be like telling the story, even if it's just to yourself. And then when you present this to the world, if someone's like, Hey, I really love that specific character, what's the deal? What's the story? They're like, Oh, well, her name is this. She does this. Her story is this and that. And you can just start elaborating. And who knows? Maybe one person will be really interested and they'll like to turn You creation into, like, a video game or like a series or something. There's a lot of success stories about people like that. They keep their stories, they keep their characters, and then a golden opportunity just arises, and they just seize that opportunity and create something amazing. I like this shape right here kind of feels like like a gemstone or something. So why not make it so, like a nucleus? Again, we can add a little bit of color over there and create something interesting. Let's say like a couple of the. I want to keep it simple, though. I think that was one of the mistakes on the primary stage that we were doing. Things were looking a little bit too complicated to detail and stuff. We can keep it a little bit simple and have cleaner shapes. There we go. Yeah, it's looking good. It's looking good. And time flies when you're sculpting, especially when you get to this point. I always consider myself a really fast artist whenever I'm doing the primary and secondary shapes. I can block them in, like, I would say quite quickly. But once you get into the tertiary detail, which you really need to go pretty much every square inch of your character and create some amazing stuff. That's when time is going to fly. Like I'm saying right now that we're a little bit over 10 minutes now, usually, it takes me longer to realize. That's one of the great things about sculpting. It's really cathartic, if you wish. So there you go. By the way, I'm not sure if I mentioned this, but when I started recording this tutorial on Chapters one through four, I was using a traditional a tablet, and during mid production, I changed to a Canvas, so I'm using a Pandas play now, not to brag or anything, of course. I just want to make you guys know that after you take the course, if you think that CBRS is something that you're going to be doing seriously, I can really recommend one. They're really, really good. I got one from Huan Canvas 16, and it's really, really good. So if you are considering yourself or you consider that you're going to be doing CPRS for quite a long time, and you want to invest on a nice tool. A pen display is definitely a nice investment. Just don't go for the Wacom tablets. I mean, unless you can really afford them, they're really, really, really expensive, and I wouldn't want you guys to spend that much money and then stop working on treaty or something. So yeah, that's why the canvas. I think it's still a little bit expensive. I'm not going to lie, but it's not as expensive as the scenes. Can recommend. I can recommend it. There you go. Perfect. So yeah, I mean, the details is coming out nicely. I want to add a couple of lines over here. Again, just two. Just to break up the slip because there's a lot of simple lines, and having a little bit of those elements right there, I think it really helps and I'm going to kind fade away into nothingness there so that they kind of just disappear once they start going down. Really like the crown. I'm really, really happy with how the crown turn out. I'm going to go and give it a couple of extra passes here on the marks. Because I really like how that looks. It looks I don't know, very, very royal, very gal or something. I am going to give it a little bit of detail on that like that over here as well. So let's Again, this is just to kind of fade in into this, sort of like pedal shape. I think that's going to look cool. So yeah, yeah. This is looking good, guys. As you can see the tertiary detail, it's pretty much there. So in the next video, guys, again, I could spend hours and hours and hours up on this character, but I don't want to drag this super super long. So I'm going to jump onto the main details, like just like traditional details, and we're probably going to be doing some more tertiary detail on the next video. So yeah, that's it for this one, guys. Hang on tight, and I'll see you back on the next one. 55. Alien Details: Hey, guys. Welcome back to the next part of our series. Today, we're going to continue with the alien details. So let's go. Now, unfortunately, while I was doing the last part, the Sebrah crash after I finished the video, and we lost a lot of the detail that we have already, like, the tertiary detail that we had, worry not. I'm going to rescue a little bit of that detail, and if not, we can just keep moving here with the general process. At least, you guys have that information there on the video. So that detail will be there in infinity living where I can't reach to it. So quick thing. Super is very memory intensive. So if you start learning running low on memory. You might get a couple of warnings here and there, because it tries to save on to scratch file. I by default is your main drive. So if your main drive is really, really clutter, you might be getting those like weird crashes, which I, of course, do not recommend. Now, for the detail, I don't think I really want to go like super intense here. So what I'm going to do is I'm going to grab my standard brush. I'm going to grab my drag t and I'm going to use a little bit of leather. So I'm going to go here to my Alphas And I'm going to use this leathery skin here or this leathery skin over here, which to me, it kind of looks like like tree bark. So if we can add a couple of these things here and there, I think we'll have a nice detail. I'm definitely going to decrease this. Let's give it one more subdivision level. So the detail is a little bit nicer. There we go. So see certain things like this main neck that we have right here. I think adding a couple of this lines would really push and sell the fact that this is supposed to be a hard surface, right, like heard element. So yeah, again, just have fun with how we are presenting or or doing all of these things, and you're going to get a nice result over here. Now, the cool thing about details, and even though we lost a little bit of our detail, is that at any point, that can just go back to another subdivision level and work with that, right? So it doesn't mean that we lost everything because again, we can very easily return. Here, I'm going to decrease the intensity even more because I do want to have some lines here and there to again, indicate that this material is going to be a little bit like stronger. Even though it's not like adding a lot of detail to the whole thing. We're making a really bibliistic which I kind of like I normally don't do the sort of characters, but I felt inspired for you guys, so let's keep going here. I'm going to go back to my clay build up here. Make this a round brush. And since we lost a little bit of the detail, I want to kind of get it back. I really like using the clay build up because it gives you this sort of like sketch vibe, and it sometimes adds a little bit of texture to the whole thing. So that's why I really like using it. And here's where again, we can start adding small details. You know, how trees sometimes have the holes and lines going into them. We can definitely go there. Demin standard is also going to be like an important aspect of the whole thing, like for main wrinkles and stuff. Like see how it get this sort of effect there. So the Dimin standard can really allow me to build up and to really carve in and separate the different sections of our character. Again, I'm already thinking about the final composition, which should be something like this, like trying to find something interesting here. I'm going to use a little bit more Dimin standard to add more detail. Did I remove symmetry? Looks like I did. There we go. So yeah, this is pretty much what I would recommend, I like that wrinkle. I'm going to add a little bit of form here instead of the head again add a little bit of details, not everything has to be like super detail. We can have rest areas. We've talked about those ones before. This is looking cool. So let's just keep adding a little bit more texture here, for instance, to this breastplate. I want to add a couple of lines here and then just smooth them out. Again, just to have something. We had the crystal here, remember. We saw, like, like, a crystal shape here that we can later on, used to have like a nice little color there. What else? What else do we miss? I think that's pretty much it. Like I was able to recover most of it. There was a nice little detail that we were like, building up here. We should recover. Like again, like, like a tree bark, like, a something that was cut or something. I think that could really benefit from a little bit of detail. I lost the thing that we had on the back here. I'm really sad about that one because that one, I really like how it was looking, but well, we got something here that's going to it's going to work as well. So yeah, I mean, this is looking fine. I really like it. And we can keep pushing this and with details and stuff. I think I want to give it sort of like even flowers have this sort of, like, leathery skin. So I'm going to go BST. I'm going to change this to spray. Then I'm going to give it like a very, very subtle texture, only on this area, like only on the soft area here because I think that's the area that we're going to have this sort of like flowery effect. I can transition a little bit into other areas, but I want to be a little bit more prominent there. Of course, here on the neck. Any areas where I can see like a little bit of skin, I would expect to see this sort of, like a leathery skin. Let's go back to drag c, and I think we can add a couple lines here to the chest. Again, in following the shape that we have there. And, yeah, that's it. I don't want to go too much into details here. I mean, I was thinking maybe, like, small little like spheres here and there. As I mentioned, we can spend so much time on this sort of like projects. There's really no limit on how much you can polish a character. Right now, I'm just trying to show you the whole process from start to finish, and we need to get to the point where we do a little bit of compositing, right? Like rendering and compositing. So so that one's going to be fun. There we go. So I like those little dots. However, if you see those little dots, that means that you're probably going to see them somewhere else. Like in nature usually doesn't just do it on one side and that's it. So we need to decide where maybe a little bit of texture here and kind fading out to smaller and smaller dots. I think that kind looks interesting. And again, once we have our final composition, we're going to get something cool there. I'm going to emphasize the device up a little bit more. Something like that. Yeah, there we go. I'm going to leave it here like this, guys. In the next video, we're going to jump into poly paint. Again, don't don't take my advice in this particular scenario. Like if you want to keep pushing your alien more and more and more and more, go for it, go crazy and create amazing stuff. Don't think that just because it took me six, 7 minutes in this small video to show you how to add details, that's the exact amount that you should take. Normally, when I'm working on characters, as I mentioned, it can take days, weeks, even months depending on how complex the character is and how much budget the project has, of course. So yeah, just keep pushing, keep moving along, and I'll see you. I'll see you back on the next one. Bye bye. 56. Alien Polypaint: Hey, guys. We'll come back to the next part of our series. So I have good news and bad news for you. Today we're going to be doing poly paint, and bad news is that I actually already finished the poly paint, and I forgot to record the thing. I was talking to myself pretty much. And I normally don't like to do this sort of overview of the process or talk through. But we're running a little bit low one time for the whole course. So I'm going to be doing this just for this video. Okay. So we're following the same standard thing that we saw in Chapter eight when we were taking a look at poly paint. We created our a brush here, and here I'm going to show you. We started with a very simple basic green color, and I found this nice peach color that I started using as a gradient. So you can see me here using it to place paint on the most important areas of our character right there. Now, as we move forward here, we use the technique that we normally use in the poly paint aspects, which is using the blue channel. You can see how I'm using a little bit of a blue color there to go into the crevices and into the pits of the character to give it a little bit more depth. And then I found this very nice red color. You're going to see it right around here. There was a red color that I used for the lips, which looks really, really cool. You can see it right there. And then I said to myself, Well, what if we added a little bit of that red on the spikes of the character, and it worked out pretty nicely, as you can see here, by just like going over the spikes, everything started looking a little bit more like natural. And we added a little bit of this effect on the arms as well on the little gm So every single place where we had a ski showing, we would get this sort of effect. Now, here, I'm adding a little bit of yellow. I got one of the analogous colors like this, like, lemon yellow color, and that was giving me a little bit of an extra extra punch on the whole thing. Then we went for a little bit brown here, a little bit of red there on the cheeks. And yeah, that was pretty much it. At the very end, I added an extra yellow pass here, and I added the cavity mask on the whole thing. That's pretty much it. And you can see the cavity mask right here if I go into into flat color. So it was a very, very similar process to what we did with the demon, with a little tiling guy. And it was just a matter of finding, like, the colors that I knew were going to be complimentary to each other. So I remember the little color theory that we have where red was going to be our complimentary color. Well, this is exactly it. Now, since I don't want this video to go to waste, and I do want to show you something. We're going to be talking about how to post the character. So I'm going to save this real quick as alien 002, which is that one with Poly paint. And let's talk about posting. There's a new feature here instead of S a new feature called Sager, and Sager is really, really, really cool. It's here on I believe. Here on geometry, it's called stager right here. So what I can do is I can save this guy. Let's go to W, which is movement. Let's turn on all of the subtle so that we can save this. And I'm going to save this as home stage right here. Now, let's, of course, press Alt and go home, bring this up so that it's an easy place to find. What I'm going to do, if I were to move this thing around, I could just pose the character. So what I want to do here is I want to mask out like all of the upper torso. I'm actually going to use my mask lasso. And we're actually going to go down in subdivision level. Shift D, a couple of times to go down in subdivision. Can we go down in sub division. Do we have subdivisions, though, it seems like we only have one subdivision. That's fine. So I'm going to last this whole thing right here. Control, click on the mask to soften it up, like control click several times, and that's going to soften off the mask, and then control click to invert the mask. I'm going to move this thing down here to the p point. And now, as you can see, I'm going to be able to move this thing around a little bit. Now, here actually, I think I'm going to select the neck only. So I'm going to select the neck only. Again, snap here. Soften the mask as much as you can, and then press, move it to where the mask originates, and then we're going to be able to rotate this thing slightly. As you can see, we rotate it, it might move the geometry a little bit. You can, of course, move it and stuff and it's going to create a nice little pose for our character. Let's go for the head, for instance. I'm going to grab all of this part of the head. Same deal, like just the head. Control click to invert, and then soften the mask quite a bit. And then we're going to move the pivot point up to where the base of the mask is happening, which would be like the joint, and I'm going to move it sideways. Of course, get rid of mer symmetry sideways, and I'm going to move it up a little bit. So she's looking up. Then we're going to do something called the contra postal. Contra postal is when when we move a couple of things around, especially the shoulders. They're like, a little bit inclined, if you wish. And this could really help us with the whole proportion with the whole composition thing. We could do it with camera. Like if we just like move the camera like this, that's going to give us a nice effect, but we could also just move them like actually move it. So it's just a matter of grabbing all the whole torso. Moving this thing down to the center of the torso like this, inverting the mask and then just moving this like this. So now you can see that the character is slightly scute and that thing is going to give a lot more naturality to it. So when we capture our portrait, which would be something like this, we're going to get a very, very nice effect. Look at that. Pretty cool, right? Now, all of this, we call them the target stage, and we can switch the stages and go from the basic stage to the target stage at any point. So that's going to be really, really useful. Because if we want to go back to the previous stage, we can use the stager to do so. Now, in this case, I'm just going to save this as alien post, and I'm going to stop to right here. In the next one, guys, we're going to what's the word? We're going to talk about the render passes that we're going to be getting because we're not going to get the final render exactly from here from s. We're actually going to be getting or doing the whole composition inside of follho. So yeah, hang on tight and see back on the next. 57. Alien Render Passes: Very well, guys. So we're finally in almost the last video of the series. This is the light passes. So let's get to it. Now, I've already saved. And the first thing we need to do here is we need to find the camera. That's going to be the main camera for our character. So I'm going to go here to document. And well, I'm going to look here. And the first thing I need to find is I need to find the proper document site. So I want to do this at full HD, but vertigal. So I'm going to go document, and we're going to go hide 1920. With ten 80, and I'm going to say resize. It's going to give me this warning where you're resizing the document. I'm going to say yes, and it will look really, really, really weird. That's fine. You're going to press control N, draw one again and hit T to go into edit mode again. Now, to really see the whole composition, even if we're not going to be able to see the whole pixels because my screen is not as big, I can go here to where it says actual size, or some, there we go. And this little square that we're seeing right here, like that square, that's the actual composition. So this is where you want to fade your character. This is the kind of like the square that you want to showcase your character. So in our case, we're going to go for something like this, right? So very, very cool. Now, once you find a camera line that you really like, like, for instance, this angle right here. If you really like this angle, you're going to go into document, and you're going to go into this thing called Sapling property. Sampling is another plugging instead of CRs, and we're just going to use it for this thing, which is called custom one. So I'm going to click custom one. And what that's going to do is going to save that thing. So if by any problem, I move this thing around, I just need to go here and go and click custom one, and I'm going to go right back into the scene. And the reason why custom one or having a custom camera is so important is because we're going to be getting passes, and passes are like layers, and if the layers don't match, then nothing of what we're going to be doing is going to work, okay So now let's talk about passes. When we generate a render, when we do BPR here, for instance, and we get this nice little image. It's not bad. What Seaberg is doing, as you can see here on the on the render tab. Let me snap this to the other side. So on the render tab, you get to see that what's happening is Seaberg is rendering a couple of passes. He's rendering this shaded pass, depth pass, shadow pass, mask path, floor pass. It's doing all of these renders, and it's combining them into this composite pass, which is what we're actually seeing displate here on the view board. So what we want to do is we want to create a lot of different passes here that will allow us to control how we see our model, how we're going to be mixing these layers inside the folder shop, okay? So I'm going to go through the list of the main passages, you're going to need. And you can actually get as many passages as you want. I've seen artists get 20, 30, 50 passes to create a single image. I don't think it's really necessary, but if you want to go, really, really clazy you can do that as well. So we get the first pass here d PPR Pass. Okay. Perfect. So I'm going to save this depth pass. This one is going to be very important. I'm going to create a new folder here because we're going to get quite a bit of passes. So the first pass is going to be PR depth, perfect. Shadow. We definitely need the shadow, but I don't want the shadow. You can see that the shadow is really, really harsh. So we talked about shadows before. Let's increase the angle here and let's lower the GI strength a little bit and BPR again, and you're going to see that the shadow is now softer. That's perfect. So again, we go to BPR render pass, click on shadow here, which is way softer, and we're going to save this as shadow. The mask. We definitely need the mask in case we want to have a background or something, and I do think we're going to have one. I am going to explore the shaded one. You can see the shaded one is trying to be exported as a JP. You can export it as a PSD as well to have the proper colors and everything. And I would love to have Bent declion at sf surface scattering. However, they're not active right now. So I'm going to go here to bent declusion or not here, sorry, to render properties, and I'm going to turn on bent dclusion. So now if I do another BPR, as you can see, it's going to take a little bit longer because now it's rendering the bent declusion. But if I take a look at the render passes, you're going to see that we now have a abon decliusion pass, which is going to be really helpful as well, so we export that one as well. The SSS is the subsurface scattering, and plans do have subsurface scattering. I do think we would benefit from having subsurface scattering so I'm going to go to render properties. I'm going to turn on SSS as well. And now, if we render, you can see that the ambicion and the SSS are both rendering. I'm going to see the PR render pass, and you can this one here. So anything that's really thin, you can see that the arms and the little bit of the spikes, they're going to get this sort of like a mask, which is, again, exactly what we're going for. So we save that SSS pass and there we go. Now we're going to go into something a little bit more tricky, and we're going to be generating light passes, which are going to be lights that are going to be affecting my object, but it's only going to be the light. I only want to see the light information. So for that, What I'm actually going to do is I'm going to turn off my colors here. Like turning off this little like brush that we have here, we're turning off the colors. And I'm going to select something like a basic material with black color. So if I go with lights now, light, and I move the light to the right like this, and I render you're going to see that the render passes, we're going to get this composite thing, which is only getting certain light from the right, right? Like this sort of thing. I definitely want to increase the lights. I'm going to go here into light and let's increase the intensity a little bit because I want to see that sort of shine over there. So let's render again. There we go. Now, we don't need the amyluri of surface scattering anymore, so we can actually turn them off for now because we've already got them. So render pass and this one, this composite one, I'm going to call this one is the left light. Then we're going to go into the light, which we have, by the way, over here, move it to the other side and render again. Now we're going to have the right light. So there's going to be right light. Then we're going to go to a top light. Render again. Click here, it's going to be top light. And then we're going to go to it like a bottom light, render again, and that's going to be my bottom light. Bottom light. There's one that's super super important. I'm going to click here to bring or to push the light to the back, and it's going to be the rim light. And this one, I'm actually going to really crank up here on the intensity. So I'm going to go to the intensity of five. It's going to be my right rim light, so it's going to be right rim. And then we're going to do the same thing, but on the other side, and this is going to be left. Now I'm going to do something even crazier that for the untrained IMight look really, really weird. Let's go back to an intensity of one. But I'm going to change the material to this material called reflected map, which is going to be our reflection map. So I'm going to render this thing out. And again, the compositing thing, I'm going to call this reflection. There we go. Again, as I mentioned, I've seen some people get so so many renders out of this. Like they get a lot of these materials and then they combine them and create amazing things inside the photoshop. We're going to keep it simple. That's why we're using only the materials that I'm showing you here and only the passes that we've done so far. So that's pretty much it. Like once you've done that, you pretty much all of the passes. Now, don't worry if you don't see your colors, just go back to the started material and turn on your colors again, and you should be completely back to the original position. So I'm going to say this real quick here just to make sure that we have a lot of a lot of backup in case if anything happens, and I'm going to stop the video right here, guys. In the next one, we're going to jump right into Photoshop and we're going to prepare to do our composition, which will take a little bit longer. Don't worry. It is going to be a little bit of an extensive video because I really need to show you how to combine every single thing to create an amazing composition. Yeah, let's go to Photoshop. See you on the next one. 58. Alien Compositing: Hey, guys, we'll come back to the next part and almost final video of this series. We're finally in the final composition part. So this is going to get crazy. And as I've mentioned previously, I'm not expecting everyone that watches this course to be completely familiarized with the photoshop interface. So it might be a little bit difficult to follow along if you've never used Photoshop before. However, I'm going to try to make it as simple as possible. And if not, then just think that the final render that we just got, that would be your final point until you can learn a little bit about photoshop and continue with this sort of tools. So this is where things are going to get really, really interesting because I'm actually going to grab all of these files right here 13 layers, and I'm just going to drag and drop them here inside the photoshop. So yeah, there we go. That's all of the passes that we need. So you're going to pick one, whichever you want like. I'm going to use this BPR shot because it's the last one. Actually, I'm going to use this BPR render. And what you're going to do is with your M Key, you're going to select the whole layer and just move it on top of the object right here. And once you move it there, you can just delete it and just rename them. Make sure you rename what each layer is because we're going to be rebuilding all of this stuff. Like the mask super important. So we just bring the car. There we go, and this is going to be the mask. And then, we don't close that one. That's going to be the one that we're going to be dropping everything into. We grab this guy right here. That's the depth. There we go. But by depth, this is the ambient occlusion. And we go B decusion. This is the bottom light. We bring this here. I'm going to call this bottom light. Let's close that one. This is the top light. We go here, and that's the top light. This is the right light. Okay. You can use any sort of whatever makes it easier for you to remember the names or anything. I just tried to make them as clear as possible to what each one of this is. Write a rim. This is the reflection. Okay. By the way, if you guys are familiar with traditional rendering techniques like Arnold, Marmosd B Ray Keshot This is something that you would do instead of doing that. Some people prefer this. Some people find this a little bit easier to do. I personally like that was frame weird. I personally prefer to do traditional rendering, but there are some people again that are really, really good at photoshop and concept art and they can do great great things with composition. This is just one of the tools that I want to show you because it's a very common thing. A lot of people do this and I think it's really important that everyone knows at least the basics of this. There we go. Okay. Perfect. So I'm just going to go double click the background, which is my base image. I'm going to duplicate it and save a copy. This one, I'm going to lock it and hide it so that we don't see it. And let's start working with our layers. So the first layer that I usually like to work with is, of course, the mask, which is going to allow me to mask this thing and have it like a background, right? So the way this works is very easy. You're going to grab your main layer. You're going to create a mask and then you're going to go here. With your MK, you're going to say Control C to copy the mask, and you're going to press A click on this mask and press Control B. And that's going to paste this mask in this layer right here. Now, this one, we can eliminate. We don't need it anymore. And as you can see, our character is now cut from the rest of the elements. So for this one, I'm actually going to go for like a garden background. Like this sort of thing, I think looks good. And I'm going to try to find something that kind of like matches the perspective. There we go. That one's quite nice. And of course, if we bring it all the way down, we're going to get this. Now, right now, the lighting does not match, but we're going to be fixing that in just a second. The first thing I'm going to do is, I'm definitely going to blur the living in he out of that thing. So blur, Gash blur, and there we go. We're just going to have a nice blur over there. Now, you can see that the light of the character does not match the light of the element. That's what we're going to be working with very, very shortly. So shadows are a layer that we can use and multiply with. So if we say, for instance, here, multiply, you're going to see that the shadow is adding extra value to the whole thing. And that's just the way we're going to live it. The shadow is going to be add to multiply, and then we can control the opacity to see how much light or not we want to get there. Now, for instance, this one, I can immediately tell that we need a little bit more light. I'm going to press control L to bring my colors a little bit closer closer to the main color that we have on the background. There we go. Now, that we're going to talk about later MP clusion that's also multiply, so we can set this to multiply down here. Okay. And that's going to multiply our ambient occlusion on top of the character. It's not giving me the result that I want, though. Did I change something? Well, let's move this here. What hell? There we go. So go here, and this is going to be maybe declusion and this is going to be set to multiply. Again, this one is going to add a little bit of extra shadow if we need to. If you don't need it, you can just lower the opacity and that's fine. Now, here's where the lights are going to come into play. For instance, the top light, top light is going to definitely help here. And if we set the top light to screen, I know what I'm doing. Changing things where I'm not supposed to be changing things. There we go. We're going to bring this thing down here. If we change this to screen or to lighten stuff, we can eliminate the black colors and only be left with the light colors, which is what we want right here. There we go. As you can see the screen is bringing more colors. There's also another one that I really like, which is the linear dodge, which as you can see really pushes the colors of the element. I think I'm going to keep it What else can we do? I think color Dutch looks quite nice. So there we go. We're going to leave it at color Dutch. Now you can play around with the levels as well. So if I push this thing, you can see this really shines more light on the top of the character and makes it pop a little bit more. This is a little bit too much, so I am going to push it, but I'm going to lower the opacity right there. And I would really like to have the right rim. I think it's going to be really really cool. I'm going to select this one as well. Again, if we go here to like leaner dodge or color dodge, you can see that it is adding a layer of light onto the scene. This one right here, you can see it's adding the whole thing over there. I think I'm going to wait for this thing at the very end because right now you can see that it's adding weird lights. Now, the cool thing about this guys right here is again, with control L, you can change how much light it's actually going into the scene. And you can change the shininess. It's kind of like lining the character in real time inside of a three D engine, and you can again create nice compositions. And you can actually go control U, which is the hue saturation, colorize this and change the tone of the light, which is also super super nice, because now we can select a different color for the light, like let's go, really, really warm. Something like that, I think it's going to really help the character and look how nice it starts to look, right? Let's go now for this left light, this one right here. So I'm going to go again with a screen. Let's go control L, and let's start playing around with the intensity. A little bit of intensity there and then control you to go into color again, colores, and what if we go with like a blue sort of shadow here. Pretty cool, right? So again, that's one of the advantages of having all of these lights, and you can play around with a lot of things like even this render looks quite nice, right? But yeah, we're going to be able to do cool thing. I color burn, and then let's see what happens if I lower the opacity. That could be something. And that's what all of these layers are going to allow you to do. In this case, again, I'm going to go color Dutch, and just going to really lower this just to get a little bit of an extra punch there. I think this one's a little bit too much. Another thing you can do is you can actually mask things out, and if you don't want to have certain effects, like, maybe that sort of thing. I only want it down here. You can go with your brush and then just like, delete the light from where you don't want. The same thing for like the other one like this right rim. Maybe we don't want as much right rim on this other side. So we just delete some of them or use the black mask and bring it back in. So so there's a lot of things to do, but in this case, we actually had to first create a mask. So there we go. So now with the mask, we can delete the light. From everywhere and just slightly slightly little by little, bring it back in wherever we want it. So again, this will depend on how you feel with folder shop in general in regards to the whole thing. Another thing we can do is we can actually press click and this will only affect the mask that we're seeing. So by doing this, we're pretty much making sure that only the mask area of the character is being affected. So that way, the background shouldn't be affected anymore, and we're going to be able to modify the background as well, so for the background, for instance, I think we can increase the light as well. Well, not that much, where we can say control B, color balance, and I'm going to make it a little bit more yellowish, so it matches the colors of our character. There we go. Now, here's where I think the shadows are a little bit too much. Like this one's right here. I think in this one, I'm going to go control B on this one, which is color balance, and I'm going to go to the shadows. I'm going to change the shadows a little bit light them up a little bit here to change the things here. The character might be a little bit too saturated, but we can do some changes later on. There we go. Now, here's one of my favorite effects, which is the lens bler which is where the nice where is it? The one. The map is going to come into place. What I'm going to do is I'm going to bring this all the way down here and I'm going to select this guy, the main character. I'm going to go filter. A blur, and I'm going to say lens blur. And then the lens blur, what it's going to do is I'm going to select a source, which in this case is a yeah, we need to layer max. Sorry. So again, we're going to duplicate this guy, there we go. Duplicate this guy on top. Okay. Or let's do it on the bottom here first. So this one right here on the top. I'm actually going to Okay, no, no, I know what we're going to do. Sorry. Sorry. Sorry. So the first thing I'm going to do is I'm going to press Control Shift Alt. And what control shift t does is it merges everything. So like this guy, control shift E. It merges everything. No, it's not merging again. Sorry. Sorry. I'm getting a little bit confused here. It's been a little while since I've done this. So let me bring a copy of this guy, but I'm going to bring it all the way to the top. All the way to the top. The original win with no lights, no nothing. It's it's just the blur. There we go. In this one, I'm going to do the same thing that we did before. I'm going to grab where's the depth. There we go. Let's bring this all the way to the top as well. The depth map it's a black and white mask that tells what object is closest to the camera. This one is really, really important to get that mo not motion depth of field effect. Again, I'm going to press M. Grab this whole thing and then hit control C. I'll click this guy, Control B to paste it. So now this thing is on the mask right here. I'm going to grab this guy right here and I'm going to say filter. Blur, Goshen blur, not Gach blur. Filter, Blur, lens blur, and I will tell it to go into the layer mask. S. So now, as you can see this bottom part here is getting softer and softer and it's going to allow me to create a very nice gradient effect. So I think we can exaggerate a little bit more, so let's go filter Blur ns blur again, and I'm going to do set focal point, You can see how it blurs things out. So let's push the focal point. There we go. And now we can change this. There we go. See how nice, the blur effect occurs there. I don't want to make it super intense. So something like that, I say, will work fine, can hit okay. And now, now that we've hit okay, I think we can disable this mask, delete layer mask, and you can see how this thing is now blurred, which is close to what we want. Now, the only problem with this is that we need to cut it out. So I'm going to go back to the mask. Control, click the mask, so you can see that we're selecting the guy over here, and we can grab this guy right here and just mask it out. So now this guy has a nice sharp effect over here, but it's being blurred by everything, right? So I'm going to grab this guy right here, bring it all the way down. And I need to replace this one, this is not going to be the one that we are going to be using anymore. This is the one. We need to close this thing and start applying these things again, like the stack. So now we apply the stack again. There we go, and we're able to get that nice blur here. You can see how this thing is slightly blurred. I'm going to I'm going to do an even bigger change here. And one thing we can do here is we can go and the blur is still there. So if we grow into a brush here and we make it really small, soft round brush with black in this case, well, we're going to be able to bring some of the Okay. Sorry, guys, it's a little bit late over here. I've been doing this for all throughout the day. I'm a little bit tired, but there we go. We can get that nice effect. I still think the shadows are a little bit too intense. I'm going to go control L again. I'm going to bring the blacks closer up, not there. This guy control L and we're going to push this thing at the shadows are not as intense. There we go. We can actually just get rid of the shadow so that it looks a little bit more like it's actually being affected by the light here. But yeah, I mean, this is pretty much it. There's a couple of things I want to do. One very cheesy effect, but it works quite nicely is you can add some lens flares and stuff. So I have where is it? I have here some camera effects that a friend of mine gave me a long time ago. And we can use some of this flares like for instance, I have this dusty light leak. This, of course, is going to be all the way on the top. After all of the passes. There we go. And we can set this to screen or linear dodge, multiply e and overlay soft light, and this is going to add this very nice overall tone to the whole thing. Just be careful, don't overdo it. In this case, I am going to add it to affect the whole thing but not super intensely. Let's see, what else do we have? I have this little some burst rosy left. I think this one is really going to work here. Because we can rotate this and have this light here. And we're going to set this to screen. There we go. So now it looks like there's like a nice glow coming from the top of the character. I still think it looks a little bit too dark, and I'm not sure if it's maybe the environment Maybe it's the environment. I'm going to go control L on the environment, and I'm going to give it a little bit more contrast. Wait, I don't know. It seems my bath. So at some point, I lost all of the connections here again. So this connection is really, really important because you only want all of this, like reflections and things to be affecting the main character. There we go. That looks a lot nicer. There we go. Quite like, like a postcard, right? So, yeah, I mean, this is pretty much it, guys. As you can see, this is a very nice render. This is just a collection of all of the things we learn. So I'm going to stop the video right here, and I'll see you guys on the final video when we review, well, all of the things that we just saw. So thank you very much for this one, guys, and I'll see you on the next one.