Create your own NFT Collection, Generate and Mint NTFs Easy!

1. #1 Introduction: Welcome to the course. My name is ottoman from Ottoman games.com. And in this video course, you will learn how to create your own 2D NFT collection within Enscape. We're going to learn all the necessary tools and probably more than you know of to create a bunch of different things we can put onto or on top of our n of t, we are going to create every single item. Over here. We're gonna put some extra items together like ribbons, King crown, a halo, and so on. You don't have to go with my design. I teach you how I created those in the complete process. We laid on can have different scenarios. As you can tell, there are a bunch of things I have created in the course, so you will learn how I create those. Most of them, at least some I might skip over here and over there, but that's fine. You will not miss anything. You will just learn the absolute basics, how we go get the first basic structure by using silhouette design and so on. Then afterwards we're going to go through a bit more tedious workflow in which we just go and export all the cycle and single layers over here to create some kind of a collection. Overall, this collection are going to be of t by rarity. For example, we are going to export a bunch of these single PNGs was actually with transparent backgrounds, which are going to be like for hardware Nicholas II, where eyes, body began background. We're also later on going through how can we calculate that we get in total, a total of 10 thousand different N of t is when we are creating a 10 thousand n of t collection of the year. So we need to understand the mechanics behind this. How many pieces of all this complete thousands of content? I don't know how much we have created, but we will create in this course. But you will get an understanding that what do you need, at least an amount you need at least. So we can also later on simplify the process by just going through different colors. So we just tend the base color of the body's, whichever we are creating. You're going to see that inside the course, as well as how we can get more content and rather short amount of time. So in about ten minutes here and a 10-minute there, you should be able to later on create even furthermore, little single acids which we can put on our actual creation process. We are, I'm going to teach you the most of them are going to show you what I will create over the wall parts and you are allowed to actually do the same. Please do not copy, do learn First of how to create things, how to handle things, and maybe you find your own way to create your own something. And you do your own research to create your own personalized NFT collection on your site. After we have created or we will create them, we will talk about and simple generator we are using over there to upload all the content in to this. As well as the generator is going to tell us what metadata is and what is going to put it inside. I'm going to show you what is going to be inside. Then we talk about the rapidity in general and how we can use the system to make sure one or the other piece is going to be more rare than another one. Like for example, if you have like a 3D glass of the year, mine over here is extremely rare, so-called legendary. We're going to talk about the actual content, how rare something has to be or even not on. You're going to design this later on as well. And at the final step, we go through the complete rehab loading after checking if everything is correct and so on, after checking, to re-upload all the 10 thousand pieces, which will take quite some time. You might need some time in-between the videos to complete the actual course. Once you are done, we're going to go for what we need to super small fee we have to pay in specific cryptocurrency. I'm going to talk about in a bit later on. Basically at the very end over there, you leak need like a couple of cents, not too much actually. This will be under $1 and then how to do the settings. So you get an understand what is all this about? Most of the content of this complete course is going to cost you no money except the creation of a contract. And later on, when it comes to the final mending process, like when you create the contract for me in the course, it took like $0.20 or something, like 20 US dollars, sense it wasn't really as expensive or maybe it was 30, it doesn't really matter. I believe. So. Be prepared for that. So there's a bunch of content you need to learn first how to create these things. If you don't like to learn or do the content in Inkscape, any other graphics program is useful for that as well. You can use Photoshop if you want to. You can use. Gimp if you want or you can use any other graphics software which is able to, or which is actually allowed to work with layer systems. You can even use Affinity, I believe designer and pro and whatsoever and all the other ones like Procreate. So nobody holds you back to not use the actual or the program of your liking. I'm using Inkscape because it's for me, it is easy, it is for free. And we can create anything we want, any effect we like, and so on and so forth. Once again, you can do the same thing in any other graphics software if you know the other software. Whereas better feel free to do and use them. Just swallow the content as usual. And you will, you will have a good understanding later on why we structure things in these layers and how we structure them accordingly, how to export them later on. What are the odds and so on and so forth. So we go through the complete process. So in the end you will have a full 10 thousand n of t collection in place which you can mint and minted one. So like one was a contract so people can Mint in the end, can buy one of your NFP is inside your NFP collection. I'm going to show you also some other websites where you should have an account literally which you just have to do with or connect to with your wallet. So you can put in commission fees and stuff like that. We're going to talk about this as well. And at the final step, you should have a huge knowledge about everything you need to generate or create, generate and mint, and get a contract for your NFT collection. Most of the content, as I said before, is totally free. There's justice contracts which has to be paid, which is about maximum and one US dollar. And you can also get a more expensive one. Nobody holds you back. I hope this course is for you. And if you feel, if you think that you are going to learn something absolutely necessary SRE over here, I want to see you in the course. If you have any questions on your road, feel free to ask them as usual. And in the end, I hope you will enjoy. And by the way, you don't have to generate 10,000,000 as I will do in this course. You can do 510. I don't know, one thousandth or maybe just a 100 or 50 to play test to see how this content works. And even that can be minted. Even a small collection can be mended and a contract can be generated and created for you're super small collections. So if you want to go for 50, feel free to do so. Nobody holds you back. I'm going to show you in the variable, like more likely to the end of the course, what to do or how to do the settings, how everything has to be set up. So it's as easy as possible and as free as possible for you to get into play on the NFT market space. I hope to see you in course. And let's get started. 2. #2 What is an NFT: Welcome back to the course in this part, Let's go and actually understand what an N of t is or what it can be or could be and how we, how you as a designer can make use of that. So first of all, let's take a look into the website called opens C.io. And open C We are laid on allowed to mint if we want to mend our complete, complete collection. But first of all, let's take a look of what are currently good one runnings alike because you maybe have one goal or the other. And what we can see here, the last type of collagens are the last 24 hours. Of course, we can sort out about the last seven days as an example and so on. However, we can take a look in here is we first of as designer need to analyze what are or how they are structured, how they are built up, and how do they. Probably we need to create them in, let's say, specific settings. And we're going to take a look into the ones which are actually rather good. Having good standing points over there. Like for example, as lucky or some of the other ones, like for example, the crypto punks, there are bunch of different things and scenarios we can take a look into as well as put our design in these corresponding settings. If we want to, we can also take a look into moon birds. So I don't know all of these projects and we just want to make use of that. We want to get information about it. So what we can see as this collection is about 10 thousand pieces grow in size and currently as 6.565100 thousand users which are owning those and of T's, then we're going to see the floor price and all the other good stuff. And we also see the description about the actual product. So let's take a look into what is an NFT about. So first off, we can see them N of t is got some base body shape. It gets some different eyes and some different peak and also some other elements over there. Unlike, for example, this piece over the belly part, a hat, and so on and so forth. And we got like big ears or this, or that. For us, it's important that how are we going to structure the actual N of t is, so they are becoming least thought that like the ones we are currently seeing here. Also, you may have noticed that all have different background colors. So we can also use that information later on because we may want to go for and create 10 thousand pieces as well. So we need a lot of things to take in consideration. But how do we know that we're at least able to create than 10,009 as well. That's resid simple. Let's assume you have like ten different peaks, ten different i's tend different colors, maybe like main colors than the ears, then the backgrounds, and probably some hats. Like we can see, different hats as well. So also we can see they have different eye colors and total that might be, let's see on the left side over here we got ten different backgrounds, three beaks, 17 different Buddy's Eyes. I wear feathers and so on. If we are now taking a look into these numbers over here, which are the different ones currently mint and I'm not quite sure if it is fully mended, but we don't know. We can now multiply these, color, these numbers together. For example, if you only have like ten different backgrounds and we multiply this by p, by the beak. Then we're gonna get a number of 30, right? So if ten times three is going to be 30, so from just that ten backgrounds and three weeks we can already create the variables are 30 different things to be set up. Also, we can multiply the bodies with that. So 17 different bodies than we already have a collection size of 500 trend possibles. Then we can multiply by 11 by 12, by 18 and buy a 37. Because if we have 37 different hats, and then by eight, when we put this together, we get a huge number of possible collection sizes. But the downside on that as we cannot do, I mean, we could use them, but that would be totally weird because then we don't have any kind of, let's say rarity setup. What we want to achieve is that we still, or that we at least have a sum of these. For example, an outro wir, which are maybe a bit more or less available over here. So we can create rarity inside these different things. For example, let's take a look if we find something which has a rather low number. For example, here, half mom. Half-moon spectacles as like a 75 times only in this complete, full collection and so on and so forth. Now we can see these ones here are super rare ones. We got like four of them body shapes which only content are only six times inside this and we can go for and sought what they are about. As you can see, these are rather special over here and also they are quite expensive as well because they are extremely rare. This is where remedy comes in place. We can also use some other ones which are enlightened though they are literally the opposite of that. We got glitch and Jade here as well as we can see, these are super rare ones that also have a special background, are always the same background. So they are literally one of a kind. So they still have, I mean, they have different body shapes, but the beak, for example, is always the same and so on. So this is how we can analyze and see what we could go and use as information inside our, let's say collections to make stuff like, for example, here the cosmic purple background, of course it is based on the cosmic base body shape as we have seen before, which is going to be the one we are actually, are probably laid on. I'm going to be after two p put in side or project as well. So now we know that also they are always in square and the point of view is always in the center. We're going to use this information about these images and about these settings as well for our design itself. So what do we need in the end is we need multiple body parts, split it apart from each other. We're gonna go through the complete process and I show you what I mean by that. We're going to create a background which I square. So I'm usually a rather big size. If you want to go for pixel line to design, you are absolutely free to do so. And we can go and use them and analyze them as we please and ligand light on when it comes to minting, we're going to have multiple possibility to pill possibilities to go for the mentoring process. I'm going to show you literally two ways we can use over here. Or we are able to use over here for literally for free. So, well, there's one website I'm going to show you later on in the course, which is going to be, or where we have to at least the painting small amount of fee, But then we don't have to pay anything afterwards. And the people which are going to mint that for us, I'm going to take the fees and pay that for us and we're going to have to go for and make sure that we actually just promote our actual collection. And people in which or which one to get one or the other. These people aren't going to mean on their own and hope and pray for best that they are going to get a rare one as an example. So this is basically what is this about? What else is an NFT collection or what can a be? It can be a 3D model and a DLB file. It can be a movie, it can be literally any 2D or 3D art in general. And it can be also music. As an example, if you are a sound designer, you can even mint as sounds and maybe give some specials over there. If you would go and create anything over here. What do you need, of course, is a MetaMask wallet. We're going to go and pretty quickly take a look later on. And when it later on comes to creation over here you can see you can use video, image, audio, or even a 3D model. These are the supported video types are actually the supported types, at least on open sea, as you can see, it's totally free to at least start from somewhere. But we're going through this process very much later on when we are going into the amending process. But for the moment, I just wanted you to understand what else can an NFT be over here. So in the next part, we're going to start and design our own or so we're going to make a plan. We need to have an idea. We can take a look into other projects and see if or when we can actually go into these and create all the necessary parts, how we structure that and so on and so forth. 3. #3 Layers in Inkscape: Welcome back to the course. In this part, we're going to start work on our NFT itself. I'm going to use a free software called Inkscape, which is a vector-based program. You can use even GIMP or Photoshop or whichever you please enlighten. And depending on the design you are after, you are allowed to do pixel either design and so on. So what did we have learned beforehand is first of our document and it has to be in square. If you go for Photoshop, then of course do so. And maybe don't work in a super small size, except it's going to be a pixel graphic. Ally got 16 by 16 or 24 by 24, or even 32-bits, 32 pixels. This is totally up to you, but what we want to make sure of that, this one here is going to be a square. And how do we do this? We go to File Document Properties over here. And over there we can see them. We currently have a width and the height, or we want to go for is for pixel size high, basically the pixel size does not matter. But what we want to go for is maybe we start with a thousand by thousand pixels. Since vector graphics are scalable, unlimited, it doesn't matter about the size over here, it's just a baseline. Also, I get rid of the shadow border over here so we don't have this weird border around. But when I hold the old key, I can go and zoom out and zoom in on, oh, it's the Control key with my mouse and the mouse wheel going to bring this to the side over here, so it's not inside our way for the moment. So why don't we have this. We can also go for and structure the basics where our content is going to land in. For example, where is going to be our background? And there's something called a layer system. This system is also available inside Photoshop and Gamble or any other bond. Let's take a look into the one in Inkscape. So first off, I have this one. There's a layers over here for you. It might be here on the side as you can see, these little layers button and you want to press on here. And then this is going to open for you. If you have a different version of a here, it might look a bit different, but this icon is going to stay the same to show you which version I'm currently using is Inkscape 1.1.2, as you can see on the bottom over here. So you are absolutely free to use an older or even a newer version. So this shouldn't make any difference over here. So since we got this layer system, we can overhear, create new layers and even sublayers to structure all our content we're going to create. For example, we can right-click here and add a layer, or we can hit on the plus and add a layer like this. We can also define a where do we want this layer to be, for example, above, below, or as the supplier of the current. And at least in this version, in older versions, that might not be that way, but we can just drag and hold layers around. So non-starter name this one to be on my background layer. So we always have a background in N of t. So we're going to try to make some beautiful black backgrounds over there. If you want to, you constructed the backgrounds even with a special substructure, we are going to use a later on as well. It's not necessary, but something you might want to keep in mind. As you have seen, there is content which is more rare than others. So what we can do is we can add a new layer, like as a supplier of the current. And we can say this are, for example, common backgrounds. A common background is basically something which is, can be anything, can be rent, wide green-blue, whatever. And we define later on what it is about. So currently as you can see, this one is like indented over here. So we know the common background layer is going to be part of that. Let me also create three more, which are going to be once again, they don't want important for us. So we maybe don't mix things too much. Let's say in the end, when, when it comes to the exporting process, the next layer structure or the next layer we want is a rare one. So red is basically a bit more rare than the background. If you haven't decided to put this over here, we can now take it, drag it here in-between, basically inside this background area. So now we got a common and rare background layer. Now we can also go and add even more suppliers over here because we need one which I'm going to call super underscore rare, which is, which is going to be the next rarity in this place. So super rare, literally something like, Well, almost like super rare, actually, like maybe 20 out of a thousand or something like that. Well, we're going to go over these numbers a bit later on. And then we're going to have a final one which I going to go and call legendary. So this legendary is going to be also part of the background, at least for the moment later on, we can shift them around and so on and so forth. But I want you to understand that we want to have at least a good amount of good chunk of backgrounds as being common. Some being rare, a bit less being super rare, like two or three, maybe. One or two being our legendary is depending on how we are going to structure our n of t is a later on. So what do you also want to do is when you're done with at least setting this layers up, we're going to go for an absolutely want to store or save our document. So you just go to File and then we say safe, what you're going to save it as an SVG file, which is actually what's, which stands for scalable vector graphic. And we're gonna be able to put this anywhere. And you can once again use any other software which is going to support that to even work further with that. But for us, we're going to go for and stay inside Enscape. Now if we want to, we can rename this layer or just delete it and just delete the current layer we want. And we can duplicate this background, for example, but with all its structure. So we can say here duplicate current layer, and now we have a background copy and we can just double-click over here and rename this for example, this can be our body shape or whatever we think. We're just going to be part of our graphic light on. So we got a body with common, rare, super rare and legendary here as well. We may also want to have something which is maybe a working folder or working structure like a workbench, I would say maybe we named this for the moment workbench. And later on we're going to sort the actual pieces into the corresponding folders and folders structures. So what we can do is also we can unlock these layers so we don't have any issue later on by touching the wrong pieces as an example. And that's basically everything. Once again, go for and save your document in wherever you please invite. And in the next part, we're going to create our first backgrounds over here. 4. #4 The Workspace: Welcome back to the course. In this part we're going to first off structure our workbench just a bit before we go for in sight the actual background layer. So the workbench could be also something else over here. Maybe I can put something in here which I call grid. This grid is basically a grid layout which is going to help us to structure the actual NFT later on. Because sometimes if people are using them and f t is some pieces are cut away depending on where they are using them. So we need to fill in something in a 3D is called a safe frame area. So we can define how big it is as an artist. So we can say we're going to put a grid like a five-by-five grid over here. And this is going to be our safe frame area. So we want to focus inside this area and everything like inside the non safe frame area. For example, we can now use the rectangle tool over here and we just add drank it from a to B line from one corner to the other and put it into any size, usually in there as a possibility to use the document itself as being a snapping point. And how we can we do this? We just need to activate this little paper over here. So whenever I go onto a corner of the document, we're gonna be able to or even a notch, we're going to see that highlight. So we're going to make use of that. Now we're going to highlight until this point and then we just let go. If we zoom in, we're going to see, okay, it has whatever colored has and whatever edge it has. If you see a dot in the corner, it means you can drag the dots to make it around or even a non round peas over there. I got to make this one maybe without any edge. So I hit Shift, hold Shift and press this little icon in the bottom left. So we don't have any border around here, just a plain color. I'm gonna put this being a non-color. And maybe when I don't hold Shift and pick any color over here as being our, let's say Save Frame area. Maybe this one is a bit too much, just something soft over here. We can now define the size. We now know that our documents size is going to be, well the size of a thousand by a thousand. And we got a width over here and the height. So these all they look, they are going to be strange numbers. Well, that is because currently we going to see this in millimeters. And this one here is set to be pixels. So we're going to change to pixels. And now we're going to change that. So the height of thousands is correct, but the size over here, I want this to be a 200. So now I have a one piece which is 200 from the left and the full size of a thousand pixels. Now what I wanna do is I want to duplicate. So I hold down the Control key and hit D, and now I hold the Control key again and snap and drag to the right side. Now I have the same size on the other side of the document, holding Shift and selecting one after another, it's going to give us a connection or a salon, a multi selection. You can also go and do something like that. Just hover over hold left-click and then go and drag something about it. So what I wanna do is I want to rotate this one. Also add, select any of them, selected pieces, ones. And we're going to see those arrows see on the side are going to change like these. I'm going to be like for perspective things and so on. But we want to go for the rotation. Hold control will go and give us a snap rotation for, let's say 90 degrees. But what I did for goddess, I forgot to copy it, so I hit Control D. Now I select one of these, hold control and rotate back. So now we got, this is going to be our safe frame area. If we go into this area, it's fine, like design wise. But maybe we try to avoid it as much as possible. That doesn't mean that we are anyhow connect to these areas. So this is basically I want say frame area. And as you have seen in this owl or whatever, we have checked them, one of the videos, the bodies are going to go downwards, like below this area. So if you want to, you can take away this area here as well. Once again, it depends on design you are going after. For example, if you create any kind of basic shapes, like a heart shape or anything like that or anything else, then you may not need this bottom area over here, but maybe you do because you might want to integrate a shadow or something semicolon like that. So again, basically from the design standpoint, you want to have the same frame area to be at least MD4 couple of time. Before we go into these areas, we do just want to see if it is really necessary to go into this keyframe area. So, but for the moment this is absolutely good. Hit Control S for quick save. And then we're good to go. And we now have a grid. We want to avoid to constantly touched the grid, so we want to lock it so we are unable to select it and move it or do any fancy thing, wisdom. It's just for us to keep track of. Okay, we don't wanna go under this. We don't we try to not go into this area. And so we are allowed to design everything First-off in this area over here. Once again, we can put on shadows. We have some floating, something floating N of t is like maybe a coin or anything else than we are absolutely able to do that. 5. #5 The Grid: Welcome back to the course. In this point, we proudly click quickly, go forward and analyze the grid and maybe optimize that if you need. It's not that you have to do this. So first of all, I unlocked grid and what I want to create as I another grid page, which is going to be just the size of a box. I want to make sure that I snap over here to this ankle, but it's kind of hard. So what I want to do is I'm gonna go and choose pixel here again and make this one a size of 200. By 200. I give it an outline of a blank so I hold shift and make it black and I don't hold anything and select no color for the center. Now I want to go and copy just this area on this part. So we understand now again pretty quickly about the size and the grid we can work on. Also, if you want to, you can use that grid light on as a background, for example, was different colors. I've seen multiple things which are going to be literally the same. By the way, make sure you're always in the act of grid folder or a layer in here, so you don't have any issues. Later on, I hit control D ones and then I drank holding Control key and drag it all over. So now I'm gonna do this and multiply that by two. So I'm going to take all of these and copy and paste. Once again, hit Control, D stain you hitting Control and then you can snap to the corner out. This rotation, by the way, is something you might go in and counter, which is going to happen if you hold control and you do the middle mouth, the middle mouse wheel button. So if you need to rotate something somewhere, then, well, it is what it is. If you want to snap to a rotation or somewhere back here, hit Shift key. I don't want any rotation, so I go in here in the bottom corner and just pass over 0. That just happens if I hold the middle mouse and the center. I can pan around this field over here, looming or just using the mouse wheel is going to give us up and down and holding control my while doing that is going to give us that. And once again, if you hold down the Control key and use the mouse press Daniel, rotate the Canvas. So I want to go for and duplicate this. Four more times. Fun facts and these are all not empty because I was also a copying the background over here. So now I need to get rid of the ones I don't really want, so I just select them, hit the Delete key and I'm good to go. I just check out this one is necessary. So you can see now our grid is now a bit more performant. And we can see we are now 100% and the size of a five by five grid. This grid once again is going to be our guideline for literally everything in NFT space. When we go for a square. If you just go for pure art, then of course you don't need to do this. And also the N of t is don't have to be in a square, don't forget those and can even be landscape or portrait mode. It doesn't, it doesn't matter. So this is totally up to you how you want to design that. Once again, I'm going to go and lock the grid safe. My Control S for QuickSight and now I can work on top of the grid and can resize things. Make stuff more visible or less visible. You want to play around with the visibility of the grid. You can do so in down below this, this Opacity panel, we can, for example, just drag this one down or up. So we just, we don't see this always, so we don't go and confuse ourselves, but we can still see it. And as when we go for, let's say, a opacity of 20 per cent hit Enter. We still see it, but we don't really, it doesn't hurt us in our actual design, but we still have literally like a guideline in which we can put all our design ideas and stuff like that. 6. #6 The Background Basics: Welcome back to the course. In this part, we're going to go and create some backgrounds which we can later on used for minting purpose. There are a bunch of things we can take into consideration and some ideas I have catched up over the last couple of months. So first off, we're gonna go and switch to the background layer. We can select if we want to be, don't have to, we can just select the background layer. We don't need to go for the moment, at least not into one of these background is always the same size as the document size. So we can, for example, start on the top left corner, drag up or down on the bottom right corner. We don't have anything as being a actual stroke around, but we can now say, okay, we're gonna take any kind of color. We love that we like or we don't like, or people may like. So as you can tell, we are now getting this Like this Yeah, connected with this destructed from the actual grid itself because the color looks different to us through our actual blend over. So for the moment, we can say we deactivate the grid, we just the disabled by this ice symbol so we can see what we're doing with Dart here. Now, normal color backgrounds are really, well, not, not nice, I would say. So what we could do is we can make it a bit more, let's say shiny. We can use one of these actual ellipses or, or just name it soccer, whatever. We can just drag it somewhere over here. But as you can tell, the color is the same Provo the moment I just pick up another color. So we can see for the moment where we are. We can go for and snap to the documents setting on the document middle, but we don't know where it is. So in that case, we could, for example, say, we're going to use this tool here, which is called the alignment tool. So when we go and hit this little arrow here, we should see alignment distribute. And once we click it, it's going to open this piece over here. We can say we want the alignment happen relative to the page, to the biggest object, the first or last selected and so on. So we're going to go for page and I want to center this one now into the center of the page protocols so we don't need any extra guidelines and we're good to go later on. We can also make this one center, in the center of the Soviet. Now completely centered off the document. I hold Control, drag it down until I think I'm happy. And this could be, for example, something for shadows later on like when, when, you know, when it is like a blank one, we can get rid of our opacity of this particular piece and then we're good to go. But for the moment, we just don't want this to be blank. I make this one like part of this color family over here. If you want to be a bit more precise, we can also use this tool here, which is called the fill and stroke, in which we're going to have one when we are using fill, we can play around with these colors and then HSL or an RGB or CMYK color spaces and so on and so forth. Or even use the color wheel and play around with these colors so you decide which one you want to work with. So to highlight this background a bit, we first want to make sure that we are literally in a bit, maybe also outside of the grid. And of course later on we might need to manipulate this shine or the shine color, for example. So we can make this one bigger or smaller. This is totally up to us. Well, we can do with that. Also. We can blur it so the actual outline over here is going to be blurred. So when we increase the blur just off the selection, we can see it's going to start to look a bit different. The size might change a bit depending on your size, but as you can tell, it's not blurring on only the selection. It also blurs the complete background layer over here. So I'm going to undo this Control C. And I want to only blurred this one particular object. So we don't want to go and do the blur inside the layers, but we want to do the blur inside the fill and stroke. We're gonna go here again and now we can see the size increases depending on the amount of blur. We want to make sure that this brewers literally not going outside of our actual canvas. If it does, it's okay. It doesn't make any difference later on, but we can play around with that inside the fill and stroke area. Now when we go and on or hide the grid again, we can also go for and say, we want to make this not as present as it currently is. We can go down with opacity, for example, just to give it, give it a shine, to make things, let's say, highlighted or even more beautiful, if we wanted to. If you are happy with the color combination, you can go forward and do this literally four bunch of different ones. If we want to, we can also take this two objects like the background as well as the shine and we can make them a group. So we go to Object Group. Now, these two pieces are grouped together. We can still work with them even separately if we want to. But if we want to move it or do something like that or copy it, then also this piece is going to come with it so we can simply later on make changes on that. So once again, currently everything is on this selected pieces inside the background layer. We don't really see this over here because it's not separated on its own, but we can later on if you want to make it. So what does that mean? Now if we go, for example, in duplicate this, I hit Control D to duplicate and just drag it to the side. So we have some play. We can play around with the colors and stuff like that. If we now go to fill and stroke, you're gonna see the paint is undefined. Why is that? Well, because we have a connection in-between those two. And so we would need to handle them separately. So what we can do is we can, for example, go and pick any of them schemes over here. But once again, do it through a difference in between those. We just need to ungroup them. Or we can take one of these pieces and double-click them. As you can tell now I have double-click this area. Now I can play around with the color on this as well as on that. So now they're still in the group. If we need to double-click here outside again. So we get rid of this. So once again, we can double-click it and now we can select any of these colors separately. Ever want to go for and create something more orange as I want or as I made like, I go for a more pastel type of colors. I want this one here to be also a bit of that. So I can color or take the eyedropper tool here, then go and just like this one a bit up. So they are literally on maybe something similar to each other, double-click outside, so we're still in this group. And if we want to, we can just put this one all over this piece here, or we just keep them separated and next to each other so we can later on define or decide, okay, I will maybe want this to be more like a rare one depending on the design we are later, after. If you want to, you can also put something else like other shapes in the background, probably even inside the safe frame area, for example, like little stars and glitter and hearts and whatever you please enlighten. But this is how you can, you don't have to create and structure, Let's say some simple backgrounds. So for example, if we wouldn't have put a would go and put any, let's say body type. Let's say anything here in the front. You can, by the way, also play around with the opacity here and the bottom. And we're gonna say, okay, this, our body is, let say anything. We're going to still have in the background, we see some highlights happening. So we can make this highlight is big or small. This is totally dependent on what you are going to create later on. So if we have any kind of shape, any creature and the monster and the dragon, if you want any animate girls or stuff like that, all of that totally up to you, your own decision. Then you're going to see if these highlights are going to be huge enough to actually highlight that. Once again, you can even go for this complete shape and highlighted absolutely possible. Or you just rotate this piece right now, like this little highlight over here and make this was a one upside down, but this is something once again, you have to decide totally on your own. Again, you can, you can take one of these shapes on. You just scale it up and say, okay, maybe one more. All my highlights to be that all you're going to have a mixed highlights heading or you have multiple highlights maybe here and there, and so on and so forth. So as you can tell, whatever is going to be in front of our background is going to be super more highlighted. So now feel free to create multiple backgrounds on your own. And then the next piece, or my next part, I'm going to go and continue create even more. And so we have maybe at least an amount of ten different backgrounds and maybe we'll make one specific background, a legendary special one, or maybe 21 legendary and one super rare. And the other ones are going to be rare and maybe not so rare. 7. #7 Creating more Backgrounds: Welcome back to the course. In this part, I want to continue working on the background. So I gonna make literally like a some copies of the current ones. Like I'm going to just duplicate them to the left and make something like a grid. As an example, it doesn't have to be a grid, but maybe you're going to, at least for the moment, keep track of what we're really doing over here and later on we lock everything. So I want a total of ten, let's say. So we can now say, okay, if we are happy with the general design, I'm not. So I'm going to go for and change one thing in a moment are pretty quick. Then we can just duplicate whatever we like over here to be literally our base. What I don't like at the moment is my setting over here. I want the actual size of this thing, maybe a bit smaller, maybe a bit more in the center. Maybe I'm going to create a completely, totally new one over there, or maybe the colors also don't match. So what I can do is I can instantly go and just simply create a new one. I want this piece to be rather heavily blurred, oversize, and currently I see that it's not enough, so I want to make it so that it is almost having at least half of the size of my safe frame area to the side. So I can hold down Control key and make it a bit more like this. I'm going to go for the center of my page. I want to see where I go with that. If, once again, if there is something going under the actual canvas, it doesn't really matter. So what I want to choose now is eye color of the background at least for the moment. And now I'm going to highlight or make this one a bit brighter. So we're going to see where the highlight is coming, literally coming from. You want a secondary highlight in the center. You can absolutely go for it and create that. Maybe I'm going to make it a bit more bright. And maybe that's not too bad at all. So if you don't like it because maybe it is blurry, yes, but maybe it is like, well, not really defined as much as we want. We can also do a different scenario. Instead of blurring it, we can use something called a gradient. So we go to this tool on the left over here, and we can just drag it directly or from the center into one or the other direction. So we're going to define first the circle size. So we can make this the size of the canvas. And now we can, when we go for the tool again, we can see these blue lines over there. So these blue lines represent the actual lead, say, blending mode. You can see over here this is the gradient, how it currently looks. Or we can say we double-click on one area and we can drag this piece around over here by using this dot or just taking this dot. And we can just define where we want this dot to be. Like if you want to have more concentrated color over there, we're able to do so. And also we can increase alpha and up until this point to, let's say 100%. And the center point over here should be also 100%. So alpha's literally the same as opacity, but this is based on the dot where we want the color to be. So we can now increase or decrease the actual power of that. And at the very outside, we want to have an alpha of 0. And once again, each of them dots do have their own colors. So for example, if you want to have something like purple or yellow in the center, you can also do that even if that is probably not even visible. And so we can go for each of them colors. Now, it has taken the wrong color. Actually, it just chose the wrong color because it was doing a copy out of that. So there might be a buck or two over here. So don't get confused too much over that. So I'm gonna go and select this. Once again, it's still shows me it's a yellow one, but actually it doesn't. Otherwise, it would show me that it is a yellow over here. If you want to go for and choose the color picker to pick the center color here again than prefer to do so. Again, this could happen and well, it's okay. So now I got a rather nice highlight in the center. I can make this color if I want a bit more polished, a bit more dense. So we're going to have literally a bit more, let's say contrast and to these colors, if we want to, if the size is too small or too huge, once again, hold Control and Shift. And so you can get in and get out into that. The final touches going to be the opacity itself over here. So if it is a bit too much of that gradient, you can reduce it down to whatever you place in like. And so we're going to have a proudly well, I like that more than the one that we had before. So again, this is something you need to feel on your own, double-clicking outside. So these two pieces should be together or once again inside this selection group. And I should be able now to pull them left and right and duplicate them if necessary. So you can now go duplicate this one up until I have my full ten amount. So I just take them multiple times. Control D. And now I take the same amount down below and drag it to the corner. So I have literally just a basic grid over here to see how that is going to look. And now we can go for different colors and schemes and designs however we please. And like. So what we can do is we double-click one of these backgrounds over here, select them once again. And now we can say, okay, we take this top area over here. We'll just go and scroll through and see which color might look nice. That green looks pretty good. Well, maybe like this one over here. And we can pick later on the other one as a base color and just reduce the actual lighting in that we can do this. And basically everywhere, we can pick something where maybe we have an orange color. As you can see, these are more pastel light, so they are not literally four colors. If you want a baby blue one, maybe something like that, you are absolutely able to do. So now we take this one over here. Well, that was one click too much, but that's fine. And we're gonna see if we find other ones. So they're not looking the same but still have a difference. Now we're going to go for the next route over here. Double-click them and goes through that purple looked pretty darn nice over here. Let's see, or maybe a darkish blue, like so. Then we're going to take this one double-click once, then once again, get into it and maybe find some other nice colors. And that pink might go a bit more, maybe a bit less. Well, hard to decide later on into which colors I want to go in. So again, this is something you might want to go for. And these two can be, now our special ones. They can be whatever. They can be dark, they can be extremely special. And so these are going to be the ones we maybe keep for later. For example, they can be super dark and or whatever, they can even be black. You know, there are bunch of things we can take into consideration for doing so based on the design. We're going to go for a light on. For the moment. I'm just gonna go and double-click this again. I want to make this one black again so I don't miss it out later on. So this is some extra work we are going to take a look into a bit later on. So now we've got these two colors. We want to go for the shine and the center is taking literally the same color space over here. So we can go for Double-click, click that one in the center. Now we're going to have an issue. The issue is basically we got our two colors we need to select from inside to outside and then change the color scheme itself. We don't want this to be too heavily away from each other. So we're going to select the gradient tool here. And as we can see, we got like this in side area over here and the outside area. And so what we can do is we can use the RGB as being a base of the color line if we, for example, so like this piece, we can copy this color from here. Just copy. Now we go in that one double-click if you want to select this one piece over there. And now we paste the color code in, if possible, on same here. You should be able to control V to paste it in. And we need to go and check it, the lighting in a moment. I'm going to paste the color here as well. So the lighting of that one, having a number of 79, that's maybe or maybe not. Probably not. But we wanna, we wanna really want to make sure that this is happening over there and we are going to have the correct number. As you can see, the light over here is 90. So we're going to keep this number in mind and change the lighting here to be 90 as well. So we take a look. We take the same color, but we highlighted based on that other color, we just put it in. Well, this was a bit too much. And 90 over here and we forgot or the color is not gotten taken over. So we're going to have to bring it back to that 90. And now we are done with the next gradient over here. So this is going to take quite some time now to an organized and maybe goes through and attend all of them accordingly. So they have all the same color as their base background. And we go now, we just take or keep the information from here. So we're going to copy this color code. Double-click here, go there, paste the color code into it. If it is different, as you can see now, it is the correct one. You're going to do the same thing over here. And now we change the light to 90 over here. And for the center point to the 90 here as well. So your work now is go and continue. I going to do this as well. And the next part, we're going to take a look into the, well, maybe a body part already. 8. #8 Background Infos: Welcome back to the course in this part, I want to take a quick note when it comes to the last two, because there are some things you might have noticed already. If we are going to select our highlighted area over here, and we're going to see that this area over here also has a colored tint. For example, if I take a full black color like this and they're going to attend first-off, the first over here to be that same color. Like so we're going to still see, okay, This comes from this next point over there. Let's turn this as well. And then we see some weird thing happening. As you can tell the difference between this point which is told to the black and this point here which still has the red part or the reddish area from this one has to be tinted as well. But then there's something happening. We are, you might have noticed as well, is when we select this outer point, of course, we need to tint this in the same color, but something is happening, as we can see here in the bottom, there is going to be a hard edge happening. To avoid this hard edge, we're going to go into this RGB area and delete the two Fs over here and put them to 0. So it's going to be in its Alpha Pi's over there is going to get and transparency. Now we can go for and take this piece here. And let's say we're going to light it up by 90 as we had before. We're going to light this one out by 90 as well. So we're going to have lunch, literally the same thing, the same setting as it should be without much going down below over here. And so the same thing happened, of course here and the other areas. So for these highlights, you may or may not want to go for, but this is the best point to understand what's really going on. It's basically that if you go and highlight this one to 90 here as well, you're going to see there's still a difference or this is a different scenario because, well, it looks all the other ones look the same way. But on the black area you can see this as prominent as it is. So keep in mind that you need to tackle the last point and the gradient always as well. So and by the way, you can always take a look and bring them more inwards or outwards make this not a circle, but maybe more of an oval or an ellipse that is possible here as well. Once again, I'm going to keep these two for, let's say a special edition. Maybe when we become a better or B, we get a better idea of the things which God going to happen over there. So for example, what we can say, these top colors are going to be literally the common colors or everything is normal wisdom. And these two go and go for later on for us route and super rare. And maybe these ones here are going to be rare ones, or maybe just two, depending on how we want to set this one up. So at least ten backgrounds for an n of t should be good to go. So we have a good guideline, a good base, and basically our first pieces are going to be completely remote working at this point. We can also do is we can for each of them backgrounds so we can later on steer them separately and highlight and D highlight them. We can also create sub folders or sublayers in the corresponding layer to make sure that these are going to be laid on in the correct spot over there. So with that said, we are for the moment done with the backgrounds. Once again, I'm going to keep these two as an extra later on, maybe you're going to make some more gray scale. Maybe I'm going to make some dots or stars or anything highlighted, or maybe something totally fancy. We don't know yet, depending on also how our super rare pieces are going to get created, maybe later on are rare pieces just have a body and the background and well they fit into each other like as we have seen in wisdom owls. Where we're going to go and just have two things which are going to be legendary. And maybe we don't have any beak being a legendary peak or something similar. So once again, this is something we always need to take care off. So literally one of a kind is going to be a legendary one, something like that. We're going to go and check this one later on. But then the next now we can start to make any kind of design because we currently have a base. And now we can make anything beautiful which you think is going to get us. Yeah, would you like to create and to manipulate and setup so that people may or may not r, wanted to purchase the things. But we're going to take a look into and talk about that in the next video. 9. #9 NFT Themes: Welcome back to the course. In this part we're going to start with, let say, some basic body shape. But before we wanna do, so, let's take a look. What can we actually do? And so you as a designer, so if you are a designer already, you might want to think about, Okay, what does this theme, what is the actual goal? What do I want to actually create? Let me give you some examples of what we could go for. So for example, we could go for animals. And so you have to do your own research and say, okay, which kind of animals may I be able to create and which one I do like to create? So there are bunch of things you need to decide on your own. Maybe you want to concentrate on the ones which are already, let's say a rather good in place. For example, we can take these creatures. We just have taken a look on these owls and use them as, let's say, baseline, maybe orientate ourselves on that. We can make this in any direction we want. We can do our own renderings light on in 3D. So you have to decide if you want to do 2D or 3D, of course. But let's take a look. What else can we take and what is probably raise a profitable. So what I have seen so far is animals, food and people, and maybe mood. And then we got something which is a one-on-one or one on one NFT. So this is not based on a collection that really it's more like based on art in general. So for example, if you have an artist or you are an artist who is going to do like really like paperwork or sketches or something like that. You can even just scan your sketches and make them being an N of t. So each of them is going to be one of a kind. This is a one of one NFT. And so you can increase your NFT collection based on the orange hue going to have. For that, we don't go with generative design or generated design or generated and of t's because this is not necessary for the ad. So we don't go and generate different backgrounds and stuff like that. But this is basically something you can take a look into as well. So animals, one of the most, currently, the most common ones are those apes. You may have seen or heard of them. These border ape club or something. There are a bunch of cones and Donkey Kong like gosh, there are 3D or 2D, then there are these balls, so on and so forth. So you just need to decide what you want to do first. Before you go into that. Maybe you're gonna do your own research. What else do we got? Is something with the animal, a theme, for example, enemy girls and boys alike. I've seen a bunch of different scenarios of that theme. So these animals could be drafts, could be allophones, could be whales. There are a bunch of things which currently pop into my mind for food and couldn't be any kind of sushi food or any. I have seen also plans like cacti. So we can also say we wanna do plants. Like you can make a base of a tree or just something specifically, you can make a nest. You can do so many things. So you as a designer, have to think about what do I want to do and maybe who is profitable, so maybe I can stick to it. So once again, if we go back to open sea and take a look into these moon births, that's what they are called, right? And take a look. You might want to go for and you know, well you really don't want to copy design, but maybe we want to, let's say, get some input how we could actually design our creature. So for example, if you would want to go and create some owls, like these two are some birds or something cubed or maybe not. Maybe you can even go was tanks. I mean, just take a look how many tanks are alone over here, even if I don't like to do that, but you can do and go and do search for it. And Steve opens, you have something similar like that, which you already have in mind. So what does about, is it about, It is about idea catching and seeing who's a Raza profitable and maybe how can we make profit? Well, kind of in the same niche, let's say. And this is what you want to design. Your N of t is around, around the people which are already rather, let's say, profitable in the long term. Like these tools, they have special, special color theme and so on and so forth. You want to go for and check them out. So currently we got also this one here, which is currently in the last 24 hours, has been skyrocketed. It seems is D PX and goes division. You can always go click on them, see what they offer. By the way, you can also use explicit content. As you can see, these are more like animus style gate, girls and boys, we can use a girl body or a girl base and the boy base. And then we just put in. Based on that, we're going to put the actual hair, maybe a gun over here as we can see, it's like they look like assassins. So maybe here like a pen or something like that or flag. So there are a bunch of things as you can see what's happening there, a bunch of different hairs. Also, these backgrounds are specialists you can see, but they're still using the same grid, grid base as we can tell. So they are literally the, the main part is going to happen in this area. So we could just copy and paste one of them and see if the grid fits those N of t is here as well as you can see, this one here has a specific one. So all in all, what we know is that these are going to work quite well. There are a bunch of other ones over here like, Oh keep bears. And we can see this tools than this duplicate or which is going to be the new one over there, at least for the moment. Then we got this mutant, apes and stuff like that. So once you have done your research and you think, okay, you want to maybe go for moon births, feel free to do so. You can also go and create your own animated creatures or animate goals. You can also do some crypto punk kind of design. Let's say you just don't want to copy and paste. That doesn't make sense. And you will not earn anything because that's more or less seen as a scam and we don't want to be scammer, we want to be artists. We want to be proud of the project we have just created. And so this is what we're going to take a look into. So once again, you can go with Zaki then there are other lucky ones. I believe these are also a man base and the female bodies or body shapes or stuff like that. Then they have different colored tints and so on and so forth. So once again, you can go for this ghost division of the I don't know what these are. Other deed. So basically just once again, do your own research, take a look. I can see these are like lend pieces which are in an isometric shape over here with different designs and stuff like that. So probably they have a use case and some of them might not. And so that doesn't matter for us. Once again, we're going to try to sell art. If you're going to not want to sell art, but maybe use cases, you can also use that and sell some tickets for a game you are working on as an example or an event popping up sooner or later. All of that totally as I said before, up to you. So once you have decided, you can go for the next step. Again, I just created the backgrounds based on an idea I just have in mind. For example, we can go with the idea of a moon bird over there and use a body shape or a base body shape over there so we can quickly create that body shape. As an example, in any vector program, we're going to keep some baselines over there. Maybe we're going to not use a moon bird, but maybe just take something, at least as a base and maybe do something different wisdom. And so we can design it as our needs are as we please in like again, you can go for any main characters or plants, give them some eyes, some mood, some shapes, some stuff like, yeah, your design is going to be a special actually, and this is the specialty you need to be. You need to be different than others. So again, now we have decided on what we could do. I cannot tell you what you should do because everybody has a, has a different setting, but I'm gonna go and create some kind of creature or animal in the next couple of videos. So as a base and then from there we're going to go forward. But once again, you can decide if you want to use that or do your own research, do your own design. You can even go with hearts or something similar. You can go for crystals, like, I don't know, But rubies and M rules and stuff like that. And then you can put them into several different scenarios and things. You can make them blink and sine and different colors and stuff like that. You can give them giving a hat or something, whatever you please like. But once again, this decision is on your own. I cannot teach you how, what you can do and what you have to do because that is a decision you have to make completely on your own. I just show you the program and how to create such things. You can continue. You can come with me and do the same thing literally, and try to make it as best as it can. So you understand the actual creation process completely how LFTs do work in general. 10. #10 The Basic Sillhuette: Welcome back to the course and this part we're going to start to work on a body shape, like a basic shape of whatever our creatures could be. A would be. The last part. We were taking a look into moon birds and probably we can use that as a baseline and design every single rounded as we want and plays and light. For example, we can use our actual grid over here to snap to specific points so we can stay inside this, let's say inside this area. If you go for anything else, like for example, you want to go for an animated design. I'm going to go and give myself here some outlines just to see I'm currently in the Workbench. So if I delete something, nothing fancy. If you are going to design something with a hat, like a TV character in anime or whatsoever, then you might want to go and outline first at the actual sizes. For example, those mini to be characters, they are probably like two of them. Circles huge, probably a bit more, probably bit less. So when you're going to go for and plan your actual N of t and the design you're working on makes sure that they are going to fit. Let's say up until literally under shoulder. Or you can also try and put them completely on-screen over there. So basically, I would go for it. She be carrying they're probably I want to go for such a size like that, but then I need to take them both and reduce them at least a bit so I have enough space also inside the actual blank area. Also I can lift them up a bit, so maybe put a shadow on the bottom and so on. Now we can also see you could even go for snowman or anything like a snowman design. For example, you could just reduce them pieces over here and just put them together. Or maybe something like now could be a robot like this. Bb8, for example, from Star Wars of course, try not to copy something like that. You get the idea. And so you can do robots, you can do at even a television was some body or under it. So again, design wise, you are absolutely up to you. Just make sure you are working in such a space like that. So if we would go and try to not copy, but let's say create something like those Moon Birds, thank God, a base shape of justice circle and a square or a rectangle over here. We just want to make sure that we are not overdoing it too much on the sides and left and right. Same here. I don't want to have this weird corners over here. So I selected just once and see if I can manipulate that, which looks good. And now we need to also fiddle around the other sizes. There's some opacity involved still from the other pieces we were creating. So I'm going to go down below here and increase the opacity to 100 per cent. So I cannot look through. So what we can do with these shapes now is, well, first off, I just want to have this outside here. I want to scale this a bit to the left so I can just use this arrow here and try to fit it to this position. But if you don't like that, because you might not be able to correctly connect them. We can do the same thing, but literally was just one of them. Object like cell. So now we have this surrounding, as we would have a circle, I would go for the bigger size over here. And now what I would do is I would take this as a path and I make this one, I object to pass. So now it's not a square anymore, but I have now these little dots to play around. I can now do is I can take these and hold on Control key and select these anchors. So select this one and select the so I straighten them pieces out. Now I have one piece left over here, 1. Just get rid of it by deleting and also get rid of these anchors. So now we are literally at a flat or we got the possibility for a flat surface right now, we can fill this area with any color of our liking. But as you can tell, the opacity does not seem to be warm percent. So I go to my fill and stroke and see that I increase alpha here complete. You want to present and make sure opacity is also 100% was done. We got to have now the base idea. We can even make a ghost or anything we want. The different settings. Once again, make sure you work with basic shapes. If you don't have any idea, you can even make any kind of any kind of a creature. Literally you can make here some hair. You can put some ear on it. You can even do any other random shape. Basically, all you can just stick to the basic idea of what we just got over there. So as you can tell, this is not really a straight one over there. There's like a slide popping down over here. So we can basically do the same thing. We just go to this tool here, which we can manipulate the extra are these little points. We can select them, these bows. I going to have this one here selected so I can now scale from inside to outside or I can shift. I can help or hold down. I can with old I can go sideways. And I just tried to fiddle out how I can scale them outside. So there's these little arrows, as you can see. We can just hold down shift and we can make them like a bit. We scale them from the inside to the outside. And if there are any other parts of a here which may or may not fit into that. We're going to see that easily and we can later on go into and manipulate them. So again, there are a bunch of possibilities you have. Again, you as a designer, if you are one already, should be able to understand what's going on over here. Don't forget, we are still working on the workbench because we are trying to figure out first and some kind of a base shapes and forms and create the design of our wishing or however we want this design to happen and how we want this to look good. Let's say. Now what we can do is we can, for example, just outline the face or the base of the face. We can also put the beak already and also we need to design two. We want them to look more to the left side, to the right side, or maybe just straight into the position where we are currently at. Once again, if you design hearts and stuff like that, like flying objects, you might want to stay inside this inner three ones and keep the bottom three for something special over there, like shadows and glitter and dust and something else. You could even go for rockets or any other object of your liking. So you are not, you're not limited to design in general. So again, this is totally and fully up to you. Let's take a look into the pen tool and we're going to use on status with a smoothing of 12th over here. And try to paint some basic shapes and see what we can take from it. For example, the owls, they do have something like a mask key, let's say shape over there. So we can try to paint the shape. I'm going to fill it with white so we see what's happening. And you're going to see, well it doesn't look really good. So what we can take now is we can take all these extra dots here and we can manipulate them, use the extra handles over here and play around with these. So with that, we can simply, let's say, as simple as possible, try to get something into shape. If it is not good or maybe too hard for you, you can try to design it once again or you just, you know, just to paint over the actual body, make it like a Batman mask or whatever, and see how it goes. If you don't like this, just for idea catching as an example, That's awesome because, well, we can say, okay, let's see. When we put an ear like that, would it look good or would it look bad? We're going to make it. Maybe it looks more like a horn or something like that. But then when we go and Control D duplicate, we can horizontal shift and say, okay, we bring it to the other side. How does that look right now? Is that noise or is that not nice? And so on and so forth. Same thing. If we are working by the way, in the silhouette scenario, we can play test or play around and see if we would put some hair or any kind of thing. And see, does that look nice or does it not? And we can do and play around with that, with all the basic shapes, just with the silhouette and see if the silhouette would give us a, let's say, nice or grader on whatever nicer design in general or not. If you don't want to go for something like that, of course you don't have to again, nobody teases you to do anything. But also you can test. Well, why wouldn't I put some, I don't know, many wings. So something just playing. Just paint the basic shapes over here and see, are these shapes in general? Is it something good? Maybe I can see something else in it or is it not? By the way, if you see this extras over here, this is not just because of the opacity, but at all. I mean, it is because of the grid over here. So the grid is currently just laying over. It shows us what's going on over here. And if we are already in the safe frame area, if you don't want to see this above, but below, then you can drag the layer to the very bottom over there and everything will be laid over. So up to you. Absolutely. So again, if I go now and want to make something from these owls, I can do the same scenario, for example, with this tool. This is going to be just a drop line to a curve tool. You need to let say a bit, at least see where this goes and where you want to go for. For example, if I make a point, I can see this line is going to follow up. If I want to create a new point and just drag it around, I can now for example, create the basic shape of a beak. If I right-click, I end the shape. And if I select the same shape again, I'm going to make this one white so we see where we are. If I select one of the same points I can from their continuity and form the rest of the beak. Maybe like that. So if you want or you could even go and make this one in any color of your liking. And if you see, well maybe it's too big, maybe it's a small, maybe it's not enough in the center or maybe it is. Well then you can play around with that as well. We can go and change the shape to any shape we prefer. We can later on make multiple different beaks as an example. So it could be more like an eagle beak or it could be more like any other kind of a beak. If you see some corners length, this one over here might be hard to see. You just don't have a secondary handle on the other side. So select this hold Shift and drag out a secondary handle so you don't have to go far, but let's try to be in a row over there so we don't miss anything. Once again, you can take these handles and make them longer and shorter and stuff like that. Handle management is going to happen over here on the top. So you can make them, for example, symmetrical or asymmetrical. You can make a corner and you can just smooths them out however, and so on. Just play around with the tools and see which one fits your needs. So I'm going to maybe play around a bit more with this beak. Maybe I'm happy with that, kind of at least for the moment. So I see where I am currently working into. Also, we're going to have a bunch of other things we're going to have to take a look into later on, but that is something we're going to cover over the next couple of videos. 11. #11 Adding some Details: Welcome back to the course. In this part, we'll continue working on some basic shapes over here to get our moon births kind of thing together. It doesn't, we don't want to copy. Once again, we just want to have some kind of, let's say, guideline. How can we probably create something similar or something maybe even more beautiful? I mean, this is the design of us and we just create that how we prefer that is going to look, I would just go for this bottom or this top piece over here. And I see this seems to be not connected over there. Let's try me, try to get those. As you can see it is there are two points not really merged together to do so, we select them both just over go and we're going to have some buttons here. And here we're going to have the join selected nodes. So it's still like this. So now this is a single node over here. I can now take this node and bring this down and so on, for example, go down. And I can also, by holding Control key, just simply change the actual top of the hat if I want to. And so we can do this literally was everything which is not really connected correctly. Or maybe we want to do some different shapes and shades and stuff like that later on. So this is something we need to take in consideration whenever stuff is happening. So what can we do now? Well, let's take a look into the bottom of the actual head. Let's say it's going to be more or less like a bit flat it over there. So let's assume we have and maybe a line up till this point. By the way, it could be also a grunting monster. Doesn't matter at all. I going to need to eyeball that right now. And I make it white and see where we are and where we go. So as you can see, meanwhile, we play around with shapes and stuff. A bunch of different things are going to pop up and show up and may or may not be in the current, let's say direction over here. So this one here should be filled with white, shouldn't have any outlines. Maybe it does later on. Why is that? Well, let's assume this one has a brown body. So I'm going to take like a darkish brown tint as an example. And this one here is a brighter brown as for example. Then we're gonna be able to see this going to be like a highlight or maybe something we want to put below it, like some extra feathers or some extra something we are actually looking for. So what we can take now is again, our brush here or our pen tool. Basically it doesn't matter. We can snap to this point and can say, okay, we want to have like a triangular shape here. Maybe I going to take this tool, maybe it's a bit easier to navigate with. Now, when you go and drag them like that, just use the, the current, the current setting. And later on, if you create some weird shapes or something like that, just go over it and correct it later on. So this one here might be something, a rather bright, maybe not as orange, but maybe something else bright Torah. And if that is overlaying over something different or unnecessary, other necessary thing, you can go here and bring it one page down. So this brown piece is going to be above this brown piece. Again about the colors and stuff. Just take a look into them and see which one is going to fit best. Now I got to just rearrange the actual parts over here. Maybe zoom in hold control to zoom in, see if there are any issues with the actual style and design and so on and so forth. And once you're happy, you can go forward. Over here was the design. Once again, you can make a monster out of it or you can make an owl. So now we got still this glass is all this I surroundings area. For the moment, I just take these two pieces and bring them away so they are not hurting me in general. I'm going to take this tool and go maybe from here a bit to the outside. And I wanna, I wanna go and create the base of that I will thing. If you don't like 1 as an example here, you can always go in and bring this one a bit more down. Let's say. If you don't like this harsh edges here, you can also play around with these and reduce the handle size maybe to one side or to the other side though. They are not like over Blanding each other too much. We can also always go and copy and paste content selected. Go to the tool again, take the last part and go and continue the design. As you please nag, if these snaps are going to give you a hard time. Well, feel free to disable them. So that looks good. Probably this point here needs to be more there to give me more, let's say, possibilities to shape it into some different scenarios. Sometimes you might not hit 1% and then it happens that your mouse is not going to give you the correct shape are just makes stuff harder. I going to make this one here is symmetrical. So I'm going to select this one and drag it outside of it so I have a bit better control above all the other dots here as well. Again, I have as hard corner here. So I might wanna go and use the hard corner, this. So I select just that single piece over there. So I'll just select it first, select the actual shape and then just that piece. So these two dots on all highlighted. And now I want to put a point in-between. So we can say here, insert a new node inside the selected element, and now I got a new node. I want to just make sure that I only select this one node, but not this one. So just de-select and see if you can do anything. If you cannot select a single one like this one, just go and do it like this. Fun factors are like always, it's just going to highlight these things over here. If you want a D highlighted and just a single one, just highlight a new one. I want to make it so that the height over here is going to be probably the same. I want this harder edge over there so I can play around with that edge later on. Maybe. Maybe I'm bringing this one a bit outside and this one a bit inside. So they are kind of in a same shape and order. Once again, take your time with the design in general. Why? Because, well, you want to sell your art and you want to make it as beautiful, understandable, and good as you can. This is your aim as an artist. So well, yeah, take your time, may plan everything. I had maybe some sketches beforehand and see if you want to go for that. I'm going to hold Shift again, drag this one a bit out. So it's not like as harsh coordinate. That doesn't look too shabby and maybe I'll give it just a basic tint. Bring this one down. So we need to select this select tool, bring this one down, ones at least. So I can see, aha, this is probably the area where the eye area surrounding the actual owl hat. Maybe I'm going to bring this one a bit more up and this one a bit more down. Again. This is something you'll need to come up with on your own. Make it as beautiful as I said before, as you like and as you want to promote your stuff later on, you'll wanna go for it and make it as beautiful as possible. So people are intended to purchase that your art, right? So once you are happy with that, probably aren't going to switch the direction here and we can go forward and put in some basic shape if we want to, or maybe we extend the actual horns or changed the horns over here, bid if they are horns. Or I'm going to go for and manipulate the shape first. So it may or may not be able to lead into this area over here, since that is going to be something separated, I'm going to delete some of these pieces here, maybe, and make them a bit more different or just create a new one. So again, there are bunch of possibilities for us to manipulate, create new things, and so on. Maybe this is not what I want. So I can also go for, and let's say I start over here, make a slight surrounding, and then maybe I'll lift the curve a bit up. So it is more like, like, like an owl gonna go here. And now I maybe want to end more like here at the top. But maybe you need to have some other shape here and the tween or maybe some other points when I select this and put a new point insight and maybe bring a single point down here. So just select the single point. And so we might have some extra shape or some special shape. Over here again, we can be as creative as we want. Again, go against hard edges because you don't really want them to happen over here. Just a slide or surrounding or rounding up and give it the base color. Whichever it is, you can, we can go for the darkest for the moment. We can also go and make it black for the silhouette first, again, totally up to us. I Control D this one and now a horizontal split hold control and bring this to the other side. Over here, which is going to maybe stick out too much. So we might want to go for and find a good spot where this should end the trolley. And since we have like a, an angle to the right, we might want to go and bring this one a bit down, or maybe you put up. So again, you should know about perspective and stuff like that. So we can, for example, select it and squeeze that pieces together, slide a bit, maybe even a bit more. So it's more looking like it would be a surrounding over there. Now we need to fill this gap and we can do this however we want. We can also say we're going to keep it as is. So it's just it is what it is, right? And so we make it like that. We can also get rid of the outline and can see of that is actually what we are after. What I would do is I would put an extra shading part at the bottom. So it's more looking like an ear. So for example, I gonna go and paint a shape, maybe like that below. Make this one black for the moment or you can also make this above. So basically it doesn't matter, It's up to you. And we can say we want this to be at the very bottom. So this is going to bring it instantly to the very bottom. I'm going to duplicate this piece Control D and horizontal flip, but that was the wrong one. I didn't want it to copy this. I wanted to take this one. So select the current one. Control D, bring this all over the place and see if it would match. Probably it's not matching at all because we have squeezed the other side over here. So I'll bring it down first and see how that looks. That looks way better right now. So again, I'm not quite sure about the hair and stuff like that. So this is something we can, again later on think about. We just need to have some basic shapes at the very first before we can go and continuity. Also, we need to later on decide how we want the colors to be and so on. If you want to make it like super bright or not, again, these aren't colored. Things are going to come at the very end because we need to create some extra outline for average shape we're going to create maybe later on. So maybe all are owls are going to have the same body shape, but maybe the eye, the ears are going to be different. As an example, we can do an overlay or even an underlay. Again, this is something we can decide later on our own. I'm gonna bring our two pieces we have created beforehand back to where they might have been. So maybe they're gonna give us a bit more of an information about the shape itself. And we can get rid of the outline here, hold Shift and decent length the color in that. If you want to, just for an easier visualization, keep on working with some kind of a silhouette first, and then we might be good to go. In the next piece, we're going to take a look into the basic eye and maybe go over some shading. So it might get some beauty already inside the actual products. 12. #12 The First Eyes: Welcome back to the course. In this part, we'll continue working on our actual, maybe some colors and maybe create one simple I. So the first thing I want to, I want to mention, you should always work with color palettes. So it just create a square and putting the colors you want to have for, let's say design a, b, c. So it's easier for us later on to copy and paste and if necessary, to specific things. For example, we're going to have a shadow color and then we have a basic color. If you want to, you can always make a screenshot of something by using, for example, the so-called Snipping Tool. You just go to New and then just take any image from wherever you please like as a snipping tool from a website or from wherever. And then you hit control V and Inkscape and then you can have this snipping of the whatever screenshot you're working with. And then you can pick the colors from the Snipping over here and create your own color palette. So that is the case. We can find sample now pick one of them but a base colors over there. I'm going to take the color for this highlight over here. I believe this one here was this highlight as well. This one here could be the center or the highlighted area over there, and so on. This one here is going to be whichever color. Once again, I prefer to work with same for this one. Just go for well, no, not that one but the other one. And then we got these areas which are literally not or maybe it shouldn't be black. So I'm going to have some darkish brown black. And so we are becoming closer to the area where we, where we want to work from work to now when it comes to eyes, we can do some basic eye. We can also once again take one of the ones we just have seen over here, inside the actual settings or inside the actual web page, for example, we can start with these roundish eyes. Maybe we can also create one of these eyes on one of that ice. Now as you can see, there are a bunch of things we need to take into consideration. It's like the color gradient and maybe the surroundings. So on rent, I might look different than a yellow. Let's start with one of them, yellow eyes maybe. So what we can use again, we can use the snipping tool and just make ourselves a screenshot so we don't have to go for a left and right. I just put this onto the other side. I have a secondary monitor and on which I can work. And now we can design based on that if you want to. You can also make a copy and bring this directly, this sheet or this information directly inside here. And then we can just start to work from there. For example, if you want to, we can say, okay, we're going to take this shape from the eye and I'm going to rebuild it accordingly. Again, this is something you shouldn't do, but this is something where we can literally find a good starting point. This is just an eyeball areas. So maybe we wanna go and create some extra shape over here, which I would maybe put together like that, which is just going to be the above eye area. Again, the design over here is totally up to you. I can fill this one black so we have a bit more density and design. If you want to go and create an eyeball, you absolutely allowed to do so. You can make this one huge and small and cutaway things and so on and so forth. And once you've got this, this area here now needs to get our actual fill. For example, from this color to this color, we can use a gradient. So first off, I put the gradient top to bottom, but not as another round one. I want to have a straight one like, you know, top to bottom like that. And now we can again play around with these colors. For example, we can pick this color at the base color. Then I can create a new point and the center over here, by double-clicking, selecting it, we can, for example, pick this color here, and then we're going to pick a final color. Well, probably that is going to be this color already. Something like that. If we want to, we can play some, some highlights like a circle. I'm going to make this one white. And maybe not just here, but also some other ones, like being a bit smaller, hold on old and controls so you can scale from inside out, going to do another one, maybe here. And so our eyes are going to maybe look beautiful. And we can also put another extra, let's say, overlays. So we have more like a roundish eye area. If you want to. You can also do this outline here, for example. So we're going to pick the actual stroke paint. Pick the eyedropper here and take this or you just get rid of that total tally. Again, this is something you need to decide on your own anyways, what I wanna do is I have this little gap there, so I just close it. And now we can tell we have some kind of a nice shape already. And again, we can put an overlay. I would go for it, hold down as long as necessary and make some kind of an overlay, maybe like an inwards blend, maybe like this. And of course we're going to close that he has through this area. I would also go and I wouldn't do this fully. I would just unhide that are hide this one. And this area here should not be like full opacity. I would just maybe do something like I gradient from the inside to the outside. Maybe like that. But maybe not with white or gray as a color, but maybe it was just black. So this one area, this 1 here should have maybe not as much opacity. Maybe I don't play around with the opacity here. Maybe I should do it with alpha because it's easier for us. Same here, I'm going to go full capacity first and now we're gonna go and play with Alpha. So the outer alpha should be more than the inner alpha. We get some sunshine. Let's say. If it is too harsh or not, nice enough, then, well, we can play around with that here. So we can give it a bit more or less of a 3D touch. Again, a design as a totally up to you if you want to get rid of the snapping because currently it's tries to snaps always in the same point. You can just go here and toggle snapping completely on and off. So we can place it wherever we need this, like 100%. And if we got any weird overlays, we don't want as an example, we just play around and see where it kind of fits our needs. And you want to be as precise as an, as an artist is. So make it beautiful and make everything nice and shiny and nice. Actually, if you are done with your complete I over here, just select everything and go to object and group it at least for the moment. And now we can take our I bring this over and we'll scale it up with hold down, Alt and shift. However, I don't want this rotation. So I tried to eyeball now where I want my, my i2 be and how it could look if I now go and duplicate and switch over to the other side. Like that, you're going to see that might not look good. So we want to squeeze the butt together here. So it's more or less fitting the other side. So it's more like as it should be. And maybe you want to take the actual highlights of them, bring this into the opposite direction as we already may know. So I'm going to take these three hold Shift to take them all and horizontal flip and bring them over to the other side, maybe like that. So the light is literally coming always from the same direction. Accept this area here, this might, you might be able to take it and keep it as it is. And other cool thing is about these eyes later when we get into the group who changed the actual base color over there and then we're good to go. If you don't like the eyes to be like that, but maybe you want to do more like a cat I scenario. You can do this as well. You literally just create the same thing from here to here. And then we go to the opposite direction. Like so. Of course you need to find tune that. I just want to show you pretty quickly how you can do this. For example, like a dragon or something. Maybe you'll want to make sure that these points are directly or straight above each other. And we're going to fill this, for example. And then we're going to have another eye shape. If you are going for a kitty or for a dragon, or for any other, any other design naturally. So if you don't like this round eyes, you can create something like this. So as you can tell, we're pretty far ahead so far. So we got a beaker, basic beak. We're going to design this a bit further down later on. So we're going to make a bit more shininess here, and our body also needs a bit more, let's say informations like light information. If the light is coming from the left or from the right, we're going to go and use that. It's more or less looking, let's say a bit more Three years in general. Also, I want to see if one of these things for me are necessary and how I want to highlight things later on, as you can tell this one here, for example, has a shadow area around its heritage areas. So this mask area. So maybe we want to go for and use some information about those. Maybe we're going to increase the mask itself a bit, or maybe play around with that a bit. Or maybe we're going to increase the complete phase. But again, this is something we're going to talk about in the next couple of videos. 13. #13 A Basic Beak: Welcome back to the course. In this part, we want to go and take a quick look on to some references, as well as starting to, let's say, organize a bit here and there. So I just did some screenshots over here, so I don't own these these images, I just use them as reference images. So you might want to go for and search for your own. What I just want to highlight here is basically the areas we're talking about. So basically, let me try if I can make it like that. So basically we got these mask areas as we already have. So I'm going to make just an outline like so and maybe a red outline doesn't show up. So I'm gonna go for a stroke paint and see what the stroke style sizes over here. Maybe I need to make it a two or ten or something. Maybe I just need to make sure that this is a buff. Everything. The opacity is literally down to 0. So you're going to go and stroke paint and increase alpha here. Okay? So we got this mask areas and we got another area which is going to be literally this bottom piece over here. Just basically just concluding the kind of a circle of that complete phases. We can see this information. I want to use that information and try to use that also in my work in general. So we can also see when we analyze that we got this kind of a center line and then we got this big area. We already have that. So basically what we can tell from this image as an example, it's basically the same thing. So this kind of Arish, a feather area over here, goes here to that area and just fits completely into this area over here. Then we got this mosque area, which is going to be here. And then of course we still have this kind of, well, it's not, as you can see, it's not like a so-called, more like an egg. So this area over here is a bit flat, and this one here is just because of all these feathers over here are just going to surround it. I want to use this information. And I took this image because it's, as you can see, Raza roundish here as well. But there are still some indents, like here or here. So we just want to keep them in mind as we design. And what I also like over here is some design ideas like literally this area, if that is something specific or something special, we can alight on, take a look into that and maybe introduced add in one or the other, you know, inflammation. What do you also can see is owls. They do have not this cat area, as I said before. So they have pupils to watch are like round. This one is round, this one is round and so on. So these are birds. They got like round pupils. So you can, or we can use them as being round or we can use and create them as being well shapers, that should be okay depending on the design again, we are after. So what I wanna do now is I want to update the mask area and make it so that the beak is literally, I'm introducing or camping that just a bit. So we're gonna go for a bit more realistic here. And so I make this center point. I want to bring this one up to where literally the beak Ps is going to be. Now I have an issue. I cannot sense that it's going to be like literally a symmetrical one. It's going to rotate as I say or as I take a look. So what I can do is I can make this a cyclic corner. So I can make one inch down and another edge down here as well. So these are going to be in years is going to be literally now our actual corner piece. We can also use auto smooth, which may or may not make sense. But it does make the same scenario. Actually, it ruins the system. So what we can also do is we can make this one a smooth round, but as you can see, our smooth node. So basically the same issue. I believe we wouldn't need to do something like that. Well, probably that's the only way to handle that. Or we're going to introduce an extra point here and there so we can do the actual design based on that. Okay, So now the next piece is, since we now know this is a kind of a roundish area over here. I'm gonna get rid of that piece for a moment. And maybe this one as well. What I can, what I now know is that this bottom area over here, I mean, it can be different, right? But this is something which is going to be an extra area or maybe another color tinted or maybe a faded or maybe, you know, another, another tint based on whatever the the color of the actual feathers as an example or so I'm going to eyedrop, let say as far as that goes, I'm going to fill that area with something and make this full area. This area I don't want to paint. So I'm gonna go select that just in case. Pick the color. And it's going to be at stroke at painter, I go to the fill and fill it over here and make this outline invisible. And now I go downwards here step-by-step until I'm with this area below the mask area. Now we can see if there are any issues with that. So I'm going to reduce some of these extra points here because we don't really need them. We just want to have full control over all points. I get rid of this point and maybe this one here as well. Because that is an end point. I don't really need a betel leaf at least. So at this point here, maybe not needed. We just need the center point. This one here is good as is. And I'm going to make this one here symmetrical. So I'm going to be able to stretch that apart if needed. And so we're going a bit further or closer into the design area. Once again, I don t want to teach you design because I just want to show you how we can make stuff. You know, we can extend the options we got. Now, the last area basically is this top area over here. It's like a V shape. We got this V-shape, but maybe this, the hat is not flat enough. So maybe we want to flatten this one a bit down. So we basically just take this center dot and bring this one down just a bit. So it's more like an owl want I can also shift the direction a bit to the left or to the right. So because we literally have in the front more to the right, maybe we're going to shift it over to that side. We can bring down our gimmicks if we want to keep them. And we can still work on these areas. And we can now point out every area here and put them together as we please and alike. So basically that's something where I can already live with. We can also see hidden here. We literally have the same scenario. We also have this kind of roundish shape. I'm going to see that this point is not really closing up there. So I'm going to bring this, let say a bit more outside of the heel, zoom in and see if I'm close to that point, which I do believe I am n. And now we can also go and design the beak as we're pleased. And like if you wanna do this one as another color, tint, like for example, tinted with dad one. We're going to introduce a shadow for the beak as well, meaning we just duplicate the beak, bring this one down a bit and maybe inwards. Once again depends also on the colors we are working on. Make this one black. Get rid of the outline and make this one down below the beak first multiple times. And maybe we need to manipulate it a bit further down here, like maybe rotate it a bit so the shadow is not like sitting directly under that. Once we're happy with that, literally we could say, okay, we reduce alpha. So it's just a shadow. To make this one not looking flat. Of course we can introduce even furthermore, let's say gradients or just single shapes. As an example, we can duplicate this ones and make another extra shape, which is going to be literally my negative or some kind of a negative shape. I would just say, I'm going to start here and paint the shape a bit like that. Surround this area and this is going to be anything. So I can clean it up. So maybe let's say this point here in the center of them, but too much over here, we don't need them so we can create smooth curves in general. And maybe we can make them also it's symmetrical. Or maybe I'm gonna put this little extra dot here and go in a bit and just drag it so that it is more like a closing gap here. And maybe I got to make the same thing with dad, get rid of this. Maybe like that. So this is going to be now or can be a shadow or a highlight area. So how do we do this? We select this bottom peak or big. I just did a coffee. Don't forget we use the copy and we'll use the shadow area. And what we now can say is we want only the rest of that. So we can say we want to create a difference. So this one here is now our newly created difference. I get rid of the outline since we don't use that. And now we can lighten this up a bit. So we get some light into this area. We're gonna go and check if all alpha's values are correct because that one here looks a bit strange. And there are still some things we might need to go and fix him. So I just fix them as I go. And that's basically it. And if we wanna go and later on change the colors of that, we are able to do that, select them if you don't want the line to be once again from the left than you do the opposite. Absolutely. As you already know, I guess I cannot play around here a bit and just to get a nice, nice shaped together. There are some things also on a beak which are going to be something like nostrils so we can take a look where they are. So you can see here is this kind of an Austro. We can introduce that. We don't have to, but here's a nostril as well. We cannot see this over here. So if we want to put this in our design here as well, we can, at least for the moment, make one pretty quick. Since they're sitting directly after this peak area, we might want to go and at least for the moment, just painted in black. And so we got an Austro if we want to have one on the other side, even if I'm not quite sure if we would be able to see them, I believe not. We could also introduce a second one or just which one is a bit smaller over there. Since we always need to make sure we are following the actual curves of our design over here. Maybe, maybe this is something which is going to be leftover there. I don't know. We can play around with that. You can play around with that. I'm testing it out and see maybe you find a good image about it and just reproduce or just try to fill out the kind of the best for your scenario. Once again, it always depends on what you are going to create. So if we're happy with that, if everything looks okay here, maybe I don't work with that the way it currently is, but maybe you're gonna do we're gonna do some changes in there because now it's different or actually wrong. Because now we got the shadow on the left, but we have the light on the right. So probably I'm gonna do here the opposite and make more the shadow area on the left side. And maybe I'm going to introduce a highlight area over there, or maybe on the top or maybe multiple. So we can do the same thing. We just go here maybe or maybe here in the center. And just draw the shape of a possible highlight on. We just go brighter with that, unmanipulated until we are happy with the actual result. Again, the less points we got them more control we got if we don't have enough control or if we need more control than we can always go and create more points. But at the moment we don't want to go and create too much of it because it doesn't make sense to have too much of them points sitting in the center. So just keep that in mind. Now let's start to look a bit better. And we can also go and make some, or think about some shapes over here. If the shadows are really correct, SDR or the highlights are really as correct as they are. But that's how you grow. That's how you become better in using Enscape design in general and all the other good stuff. So for the moment, we're good to go. The next part we probably go and introduce some feathers or something similar. 14. #14 Body Shadows: Welcome back to the course. In this part, we wanna go and highlight the body a bit here and there. So give it a bit more. Love, I would say to the outline, maybe we're gonna be able to, you know, doesn't don't make it as straight as it is over here. So probably we're going to give it a bit more roundish, has a rich shape, as you can see over here. It's going to bolster outside a bit here and there depending on from where we are looking for. And so we're going to introduce that here in our design as well. So first off, we're gonna go for the actual pen tool here and try out to two. For example, introduced a new point. I'll make this an automatic point or something. And I'm gonna bring some shapes outside over here, kinda play around with the size and with the actual feeling I want to achieve. Gonna do the same maybe for the other side, go here to a multiple or to order symmetry and see if I'm happy with that. If I want to have some more like had popping out, I might go and create one extra point here as well. So it's more like going inwards and outwards. If I if I wanted to. So once again, this is something everybody on your like you and me, we have to do this decisions on our own. We need to define and decide how we want our owls and to look or whatever you are creating probability. You're not working here with me together. Um, that's another thing is going to be body highlights. So I want some light popping onto the body front. So as we have seen already beforehand. So literally it is this area over here should get more light, right? So it is more like a compact, let's say a compact light popping up. We're going to use maybe, or I'm going to make use of this color over here to have more control. I might go and create some first points. Then go maybe here, here, here, and then close it for the moment. If I want to, I can already tinnitus so I can go to the Fill, select any fill color, and then pick this one from here, at least for the moment. I get rid of the outline by holding down Shift again. And now I'm going to try and see if I can find something pleasing, something I really like. I like the look from and to. And so I can attest it out right now. So once again, sometimes I am just not able to teach how design in general should be because, I mean, everybody has to have a feeling for that. And so you do have to do this as well. So you need to learn, take a look onto normal and other shapes. Take a look where the center line is like from here to here, and try to predict maybe where things have to go. Again, this is same for any other kind of art. So N of t does not have anything to do with that. It's more like if you are or if you're not an artist well than it is what it is. And you need to learn that stuff first. And how you feel and how you see shapes. I mean, everybody sees shapes and different. So play around with these. Test it out, see if you can use one or the others. You can see there's this grid and probably than grid helps you kind of to manipulate into the direction I'm showing. And if that helps you to use that grid, well then just follow these shapes and see if that makes any sense for you. So once we got this, we basically have a lag, a little lighting bond. We also need a shadow area, so it's more like more or less alike, as you can see here, we've got a light area, but also we got a shadow area, which has nothing to do with the actual base color, let's say. And so it could be, by the way, also some kind of a penguin style. If we don't have these ears over here at the base, is also like a penguin. So maybe you're going to make a secondary one or secondary art piece where you have ping, you can penguins instead of owls or anything like that. Just just take a look. I mean, it's so obvious. Why not do it right? Or maybe this art collection is not in our collection, but maybe a bird collection. So it could be also penguin scenario over here. So keep everything in mind and then you're going to see what's happening one time after another. So we're gonna do the same scenario as we did before. But this time I'm going to make it a bit more organized. Now that's not what I wanted. So I got to go and make a shape which surrounds the hat and the shadow area maybe ends over here. Maybe I'm going to give a bit of a shadow on the other side as well. So the, the lightest literally coming frontal totally, but more to the right. So I need left side, I need a bit more shadow. I'm going to go into these areas and try to be as, as nice to the shapes as I can. Maybe going to do it like a predict close one here. And again, this is something you need to feel on your own. Now I surround the complete body. And if I haven't heard, because I was outside of screen was my mouse. Well then I just pull these things up. So what I need is I need the intersection area from this shape I just created from this black shape and this body shape. I need the intersecting areas. So I take this one here, the main body. And now I take the secondary one, which is the outline shape. And now I say pass. And then here we should have something called intersection. So now you can tell I have forgot something. I have forgot to take the body and duplicate it first because it's getting rid of the body. So I've take these two now again, Sahni pass intersection. So now we have, well, this is like a black body at the moment at least. So we need to go and maybe this area here, maybe I need this on this side as well. I'm not quite sure. Maybe I'm gonna go and make this one here a bit more. Let's say roundish, maybe you're going to auto smooths that away like that. So it's not not as harsh. Maybe I'm going to take the lower one like this one here. Sometimes it happens that you don't really hit 100%. So get used to it. That's everywhere. So it happens even to the long year workers. Maybe I'm going to put an extra point here. Double-click it, and bring this one in words. That's not bad. If you need to go and use points sideways on just up and down, hold on Control key. So you have more control over in general. If you have a shadow area in general, makes sure you first off go, don't go for alpha, but alpha. So maybe, let's say something like 50 per cent or maybe more, maybe less. So once again, you have to feel that let's assume we go with 50. I get rid of the outline. You get the idea. If I going to select the body and later on I have an hour which should be pink. Well, then the shadow is going to be pink as well because while this is a highlight or not the highlight area, and we can do the same by the way, with highlights. I'm going to show you, for example, if we take these two as being white, which looks pretty nice, and we go 50 per cent alpha over here. It's highlighting the main colors, so the main body color, for example, we go with a blue owl. You're going to see that these highlights are getting set automatically. So we want to simplify for us, we want to simplify the process of later on just manipulating and generating and creating ourselves with as easy as possible just by changing the main color of the body. This is the mite we're going to have. This is the power we are going to use to make stuff easier and quicker in generating these hours or any kind of an n of t later on, if we are using light and shadow and Alpha actually does was black and white. And then like literally like 50 per cent or something. And we're good to go. If I now pick my main color here again, I get older medically accordingly tinted owl. There's one more thing we now need to take in consideration. Well, first of all, the gimmicks need to be correct later on as well. So we need to take a look into this in a bit. So I just bring this one to the total app for the moment. This year literally is on the current spot. This year literally is on the wrong spot. So we need to bring this up again. But only the second one, not the third one over there, I guess. So I bring this one down multiple times. We're going to have to probably put this head area into an extra, let's say scenario. If I'm going to make this one super app by the way, like it currently is. We should be able to also introduce and ambit the actual design into this highlighted area over here. So basically, if we're always following the same rules, we're going to go to this point here. Same here if I go and bring this one super up at the first place. And now take this point and bring this one literally over here. Same for the other side, we should be able to introduce them into the actual design. If you want to. You can also make them a bit roundish, like, um, we're gonna bring them down so they're looking to each other like that. So we don't have any hard edges, are hard edges or even hard corners. And we get out a bit and see where we are. Of course, there's sometimes like, as you can see, this little corner here might be a bit in the way, so we can just go and blend it out just the case and just a bit over here so we don't get any issues with that. So that's basically it. When it comes to the shadow areas over here like this one for example, we can use the same technique as we did over here. So we use the base color of the actual main body shape and then we just over blend with the correct channels, 0 points. They don't. We just need to make sure that all the layers, like the shadow layer and so on and so forth, are all in the correct order. Of course, we can try to pick one of these colors, but maybe it's not a good idea. I mean, it's now a full color with no alpha, of course. But maybe it doesn't fit later on. When it comes to, let's say we have this being a blue owl than or any other color. Let's try again. Going to make this a blue. Our ligand, see that these pieces here are not introduced in the design. So we need to take a look into that as well. So they are also forming and tinting in, Alright, let's say design over here. So I'm gonna go take my eyedropper again, pick the correct colors so we are not confusing ourselves. When we go forward. Again, make sure that you don't have any, let's say strange egg or a strange, let's say points in here. This one here looks a bit. Let's say strange. I'm going to probably bring this one down just a bit. We are kind of good in the base scenario. Now I have an issue with the actual shadow area over there. I need to make sure that when I change something here, I also need to change this, um, with the with the body itself. So basically both areas, the body and the shadow area, since currently they're sharing the same size and the same design. So we need to select them both. And if we want to do anything, well, then we need to make sure that we update both accordingly. So that's why we need to be extra careful, at least at this points. Once again, play around with that, make them as beautiful as you can. And then we're good to go. Don't forget to save often by the way. So if something is crushing, you don't lose any thing you have done so far. 15. #15 Feather Tips: Welcome back to the course. In this part, we continue working maybe on the body shape itself and maybe gonna put in some extra. So what kind of extra could that be? Well, since we have a rather huge image of the day and we're not really going pixelated except we want to, or you decide to go pixelated light on. We can also introduce something called feathers or actually feather tips. The main reason for that is maybe we're going to have creatures later on which do have helpful tips and some may not. And so what kind of feather tip do I mean, well, we could do something like this over here. As you can see, the main feathers are going to be, you know, just saying that base, same color. But in here we got some kind of a shadow and highlight. Maybe we can make use of that information as well as over here in the bottom. Just create some basic shape and scale the bid, multiply the bird. And so they don't, we have something maybe for a legendary, where we're going to have legendary dairies or maybe it's super rare ones which do have this feather tips. And we want to do the same thing as we did with the shadow area. We want to make sure that they are tinting automatically based on well, you guessed it based on maybe the body shape. If you don't want to do this and you want a tint them laid on extra, well, you feel free to do so. No problems with that. So don't say, I haven't, I have sad. You want to do this or you should do this? Well, this is something you need to decide again on your own. So how would we do this? Feather is basically something around. Let me show you something round and then we got this feather center. And then we're going to have something like a tongue. And it looks like a tongue. And so I would just do it this way. First off, I would just this and make this a path. So we have full control. I'm gonna go and take this one down and make this one a corner. And now I drank this one outside, like up. So it's more like the feather is going to be here when this is the center of the feather that I'm able to make something like a tongue. And so I would go and reduce this one here. Don't I try to hit, I need to hit Control and stained with that. Maybe bring this one down again here as well. This is a bit more freestyle. We could also copy over and hold control down here as well. So if you want to and they want to make it a bit more, let's say, different than mine, you could say, okay, when that one is going to be a black one, we might want to put some extra details on the outside or maybe some mini, not much, but some mini extras over here as well. So how would we do that? Well, we could say, we're going to make some kind of a brush like feathers. Look over here. For example, we go and paint in. We don't have to do much of that. I believe it might be too much tonight on. We're going to do just like that. We just do a zigzag and we can later on see if that is something beautiful, even not. We also need to do a decision light on or just in a second, if we want to go for the outside or the inside, I'm going to close that here. And as you can tell, it looks different right now. Absolutely. But we got some extra, some small details. Something which takes time, something which maybe makes our acids are, our n of t is standing out of the crowd. Now what we could do is we could try to add them together, or we can just get rid of them totally from each other. So to make one extra step, I might go and add some extras here. Not too much, just something. Maybe, maybe not. It doesn't look good. Maybe something like, well, something from this tongue area. And I thought maybe going to put one thin line here and maybe another thin line here. You don't have to be symmetrical. You can always, again go. Use all the design ideas you got over here and be as creative as you'd like. And please, nobody is telling you to not do. If you'd like that. We could even make it even furthermore, I want to make them all one, not one group. I want to merge them together. So I go to a union over here, so pass Union. So this is one completely in a closed path. If you want to go and change something on that path, like for example. You don't like an area or another. Just go in and updated accordingly. I don't like this one here. Maybe it should be more spiky. This one here also is not really as I wanted to, so maybe make this one a bit more spiky as well. Then we have some issues maybe here and there. Again. Just feel free to organize. Update. Probably also delete some of these areas if they are not needed. We got this free point over here. It's like now looking anywhere. And I don't want this. So I just hit Alt or control and get rid of these and maybe create some new ones if I can or not. So if something is not really working, just create a new point and get rid of everything you don't need. Sometimes things happen, sometimes not. And well, that doesn't look too shabby. What you can also do is you can put some gaps in the center. For example, like we can paint in some, let's say, feathered areas which are blank. So let me make this one white so you get an idea. Maybe just to have some art direction, let's say maybe I'm going to put another one here. That doesn't look well, it's okay. Yes. Maybe I going to put another one, small one here. So we can say we want to take some of the fundamentals out. But, well, this is a decision you have to make on your own again. So now we got some kind of a feather or typic and the safe. Again, you can also go and trade for feathers. This is totally up to you absolutely going to shrink this one down. Even furthermore. Now we can rotate them as we please put them in a circular shape around the body so it's looking even more like fixed or like a fixed shape. We don't have to do this and we don't have to spread them everywhere. But what I want to do first is I want to bring this onto another layer. Since it might not be as we want to go to super or to the legendary layer. First, I select this one since it's cylinder Workbench. So I cut it out Control X. Now I go to legendary layer inside body and going to hit Control V. Now you can see since the workbench is above the body, we are not able to see that. So I bring the workbench down below. The downside is we're still not seeing anything. Why not? Because the body might not might have been landed inside the actual background. So we don't want that. Maybe I going to take the backgrounds and put them in-between workbench in body and the workbench put them above the body at least for the moment. And so we got now the work benches inside the body, which is not what I want. So I'll drag it outside. And now we've got the workbench or below the body. So it's a buffet like see it like that. This is in the bottom, this is above the bottom and so on. So if we D highlight the body, we are still having our feather inside the, inside the body, and that's right. So the workbench again is the one where everything else is, at least for the moment. So what's the workbench synthesis and the bottom, we see this at the very most top. No, we don't see this in the first top. This body is above the Workbench. So the legendary feather part here is going to be above the workbench like that. Okay, so now again, we can go scale this one down and I want to duplicate this only inside legendary layer. So later on I can easily select them pieces. Because there might be some kind of a feather layer later on where I just have feathers in, sitting inside. So we now do some duplications and we can do all of them by hand. We can make them bigger and smaller. We can control the rotate, bring them wherever we please in like and make it so that they are looking good. Of course we haven't touched any Alpha value yet, but we can always go into so that one does not look correct from a perspective standpoint. So I just need to reorient the morbid. And I tried to make it literally like fishing fish scales. Like they are in a ring shape around the area and then they are like scales in general, might go from the inside to the outside and done they are like above each other over a triangle. We can say, okay, when we go down, we can go bigger or we can keep the size. Basically, it does not really matter. I'm going to duplicate two of them and just, you know, make it like that. So they are like in this triangular shape scenario. And I can always go in and make each of them feathers on their own. You can fulfill or fill the complete area. You can also say, oh no, I only want to have here and there one which is absolutely fine. As an example, you can say I want one here, then maybe going to take another one, just, just literally randomize these. For example, you can say, Okay, I want one here, one there. And you decide where you want some I going to block the actual body, the actual workbench, so I don't touch the body. So I have free space to work in that. So I just create or locket over here was the lock symbol. There's something I have already moved, so let me pretty quickly go back into and see what I did. Because my body has moved. It seems let's see why or what happened. I guess it was this piece. I'm going to put the lock active. Okay, so everything is fine. Now I go back and now I can go and again duplicate things that say, for example, I can always take like three in a row and put them here and put them there again. Totally up to you how you want to do this. You can squeeze them together. You can make a gap here and a gap there. You can say, I don't want to have the CEO there. I deactivate the snapping again because it's in my way. It's not helping me at all. So yeah, the design once again, and all the things which have to do with it are totally on your own. Let's say mood and you need to take a look into that. You need to say, I want to have it like this or like that, because you are the actual designer of that. So I can just show you possibilities you're going to have to do and create the things on your own. And control D. Maybe you're going to put one here again just to have it gonna go horizontal, flip, maybe rotate it and that doesn't look too shabby so far. And you can do this everywhere you want. Now we can select them all. I'm going to hit Control X again. And I'm going to create a new folder inside as the sum. And this is going to be my feathers folder inside legendary. So I have that one specific layer. And now I wanna go to add it and say Paste in Place. So wherever I took them away, I am able to put them back in. Now I can reduce opacity just for the actual feathers over here. How much I want and play around with that. Or I can take the full color over there. So it's just the actual layer. Once again, if we go to work bench and just select our body and say, Hey, the body color should be green. Well, then these phases should also become green tint and literally because they are blending into the already existing pieces. Again, if you want to add more extras to the feathers, feel free to add them into it. In the next part, we'll probably go and add some more to like a surroundings over here. Maybe someone had and then we are literally good to go with that. 16. #16 More Feathers and Ideas: Welcome back to the course. In this part, we're going to continue with the feathers are just at least make some changes to them if needed. And I just select or lock my workbench and make sure that I duplicate one of these feathers. And I maybe want to go and bring them a bit like outside over here, maybe make them a bit smaller. Maybe like half smaller or such. So maybe make it so that they are laying around. I'm over here. So basically I'm going to take two or maybe three and set and make another duplicate here. So they're not looking like they're alone. Maybe like this. Control D All of them and rotate them accordingly. So I can have something special over here for my creature. So again, we always look for some opportunities to make something special or being special. Don't forget this and keep this always in mind. I'm going to go and take all of them right now. Make a Control D and flip horizontal the complete selection and drag it over to the other side. Since I may or may not need some here at this point. As you can tell, there are two huge. So what I do is I just squeeze them together until they kind of fit. Maybe I try at least. Doesn't look good. So what we can do is everything will just standing over. We just get rid of it. Maybe I'll take this or keep this one. We can also put two or three over there. They just need to be in another order Control D three of them, just bring them here, rotate until they kind of fit. Now I need this one to be rotate the opposite like that. This one here also rotate the opposite like that. Bring them maybe closer. And this one here, I'm going to put this right in the center. And so we have different shapes and sizes and we can make and fill as much as we want at any time we want. So that's some issues, of course was this area here, like when we have this particular, let's say ear setting or whatever we can call it, are these feathers are going to be like there. We might have an issue with that, but, well, we're going to see that coming up sooner or later and we may need to go and just shift things over or maybe reorganize them like soda, so things are not in the way of others or we need to cut away later on things that special time. So let's say we could also say we don't want to have this one. So it's more looking like this side. Maybe you also can get rid of that one. But in general, we're, I'm rather happy with that. Maybe I'm going to put some small ones see on the bottom as well. So maybe I cannot take another copy of all that. It's Control D, bring them down and rotate them as far as needed. Sometimes you don't see how much you've just got. So we're gonna go and select them once again, click one once, and try to hit the arrow. So that one looks good. Kinda make it so that at least some kind of orbital symmetry probably happens over there. And we may or may not need to go and duplicate one here and one they're going to take these ones here and maybe bring them also kinda close to this area. I like that, That's nice. So we may or may not have something special over here. The decision you have to make on your own, as I said, and you need to decide if you want to go this route or not. I want to go in the next couple of sessions, I want to go and duplicate the body and maybe create other, let's say, other ear types and maybe also introduced a shadow area inside this year tax as well as the main colors. So we just need to fill out how we can do this so we don't get inside the way of each other. So we might need to cut away a bit from the shadow area. We want to make sure that it is fitting 100%, all the other ones. Also, we can say, okay, we may or may not have some specials here on top. Like a special class. Maybe we can put something on to our creatures over here. Maybe we're going to introduce some, let's say a wing basis. So we have some wings introduced here as well in the system and so on and so forth. So all of that, once again, can be done by us. We have full control over that same thing, by the way, for the mask. Maybe we're gonna give the mask something like 70 or 80%. So it always gets a bit of a buddy shape of the base shape. I'm to take into consideration all we're going to keep it as is. I mean, there are a bunch of things and possibilities we got. As you can see, the faces of these guys are probably most of the time the same, except the special versions which are not. So. Also we need some more eyes and maybe one big I and one small I like this and that like an open eye as we see here, like a staring and so on. So we can decide that as well. We need to multiple colors, like maybe up to ten as well. So we have literally like maybe five to five body shapes with different ears or nose, ears. And then we got like maybe four or five different types or shapes, let's say bond with different colors. So we need to go for it and see how we want to do this, how we want to design them. Maybe we'll go on to go and introduce some extras here and there as well. But again, these are things we need to decide on the road. And you need to decide as well. Same for the beak. We might go and make one a duck. I don't know just as a special or anything else. I mean, there are so many things we can take a look into and make beautiful or even not. So we can go again and be super fancy with that later. Only go for a special background design as well. Maybe some glitter or maybe a moon, and some some nightmarish area, which might be better. Maybe some are one with a tree in the background, I don't know. But there are possibilities for us. We can introduce like a nighttime was a tree maybe, or just with a huge moon and the background has this special Wow, might not, and so on and so forth. This is what we can take a look into and we are allowed to design into and we need more and more pieces are going to come to gather. And so then we need to decide which pieces are going to be common brands, super rare, or even legendary. And sometimes we don't have maybe four specific things. We might not have anything rare or specific. Or maybe we have one which only contains legendary things like the body maybe have a legendary but others might not solve the legendary ones probably are empty or even the common ran superiors or MD, for example, if we're going to put something else in the background, or maybe you put, I don't know, especial hat. Like these guys do have hats. Maybe we are able to put them as well. Maybe we're going to put a pirate had a pirate an eyelash, eyes, like I collapse or whatever they are called. And maybe we're going to make some super fancy designs instead of feathers, we're going to put anchors or anything. So as you can tell, we are the ones who are, have the decision to make it as beautiful as we want or as ugly as we want and so on and so forth. 17. #17 Legendary Background: Welcome back to the course. In this point, I've probably quickly one to realize or make a prototype for the legendary background. For that, I decided to get rid of this actual shine or maybe I'm going to keep it. I'm not quite sure, but maybe I'm going to create a secondary one. But I want to first of ungroup these objects and get rid of the sign itself. So I just select the shine, so de-select everything and just select it. And I want to have a moon and the side. Like in this area over here, it is a bit hard to understand and to see where it is because we are not having the grid everywhere. So probably at least for the sake of this current video or peas, I want to go and enable the snap grid first. So we see where the actual area is, where we can work in our owl, I just deactivate that are actually, it's invisible, but you can see the owl is going to be inside this area. So the moon should be literally a bit inside the same frame area, but still been roundish. So let's try to put it over there. I'm going to hold control so I haven't even and even shape and make it maybe a bit bigger like that. I also want this moon to be first off centered and maybe I'm going to lift it just a bit. So still beef careful with the same frame area. And now I'm going to make this one a white one. So for white, make sure opacity here is for wide and opacity here. The Alpha here is for white as well. Then I'll duplicate it and bring this to the right. One is going to cut away stuff from the other. Now I can go and see how a good moon-shaped might, might look. You decide that on your own. Maybe you want to have more like a hard edge one or maybe a half of moon scenario, maybe something like this or maybe something like that. Again, maybe we're going to have multiple different moons, but I believe something like that. Over half should be good to go. We're gonna go to pass and say different. Now we got the moon shape. And as you can see, this content cut away if we want or we can also fill the backside of the moon a bit and maybe give us just a rim shape of there as being the opposite. Even if we don't have to. But maybe that makes our image a bit more, let's say special. So we can say Control D. We're gonna go and bring this to the other side over here. I tried to fit it like that. And I'll take this moon or this point, I get rid of the snap. And I just want to highlight maybe the room over here. If I don't like it, then I gonna go and screw that. But you get the idea. It's always with the design you want to see. Does it make sense? Do I like it? Is it what I want to see or is it not? So in that case, we have a, still a circle, but we have something which probably not everybody has. If we want to make this one below, I would just group it for the sake of testing. Hit Control D to duplicate and blur this a bit. Now we're gonna get some nice shiny effect. And I like that shiny effect. But I take the background of the here. And now we go and put this already in the legendary of folded structure of our backgrounds because we might go, or I might go and put some stars and Lidl, other shiny things here as well. So I'm going to cut it out Control X, go to legendary because it seems I didn't got that one. So I try again. This is going to be a tough one. Maybe I hide the grid for a moment. And I need, I need to take the actual glowing one, the central one, and the rings. So first off, take adjust that but don't go over to the black area. You can see there is something else behind. So we need to block the body for the moment, I guess. So I go and block the workbench and block the body. So fully the body, so we are not allowed to pick the feathers. So now I have the moon. I hope I have the glow from the moon as well. Now I got the glow as well. And I wanted to take the background to black back one, and now I hit Control x. Now I go to legendary, go to Edit and Paste in Place. So now everything else inside, like this one here is one of the basic shapes. Literally. I want them to be in the correct folders maybe already, so we can play around with these also later on. In here, the legendary May 1 or may not need more other ones later, like under, like more layers in general. So for example, I'm going to add a new supplier of that. I'm going to name this maybe moon or night. So I may be named this night or maybe night one. Maybe the other one is a night as well. And so in light one I want to have all this content. So not just in general insight, this one, but first of this, this, this one here I want this to be in, let's say the common folder. So I'm going to go and go into common and create a new one. So add a layer as a sub layer and make this one it looks like a rose, I don't know. Kind of take it, cut it out. So Control X go into the roles, edit, paste in place. Now it can highlight our open and close these, or it can take all of the comments and deactivate them to be visible or even not. And I can do the same thing by the way, inside that one. If I say okay, I don't want to see any comments, but I want to see the legendary or even not. I should be able to go and do that. So since currently these pieces here are going to be part of legendary but not night, I need to select them once again. In that case, I'm going to go over all of them again, like so. You can move them away and you can see if you really got them if you want or you can also go and say Object Group as Euro. Now we can control X to cut it out, select night edit, paste in place. Now we can also enable and disable the night image for final touches. For the night image, we might want to go and introduce some little stars. Maybe we can use this forums. We got hexagon or n guns literally, as well as stars. We can tell how many points we want to have, for example, five corners. And we can see if they're rounded or not. We can play around with these numbers over here. Let's start with 0. So it is like, you know, nothing special because we are having an hexagon and then we go to star. You're going to see, Okay, we got a star over there. We can make them more spiky and more rounded if we want to like rounded corners and so on and so forth. You can also just use dots if you want to. We're going to make this one also white. We can play around with these colors later on, and we can duplicate them. We can rotate them until we can make them as beautiful as we want to make. Pretty nice. Night scenario. I'm going to duplicate them here. Then once again, we are in the safe frame areas so it might not be seen. So try to stay as close to the seat frame area as you can. If you want a variation and maybe you want to flip them, flip here, flip them, rotate, and fulfill some areas over here and over there. Don't overdo it. You want to see how it looks when our body or our work benches above it. Well, then we need to put the workbench once again above the background. And now you can see this would be the final result of one of our n of t is of the, Literally of our legendary background and f t, and there's no star behind it. So we might want to go and change some things here and just to a bit more or a bit better fit our actual design if we wanted to, we can also put something maybe here and there, but we might not. We, maybe we shouldn't overdo it. So don't don't overstretch it, don't make it too much. Sometimes it just looks awful when wolves. If you don't like the design in general, you can also go for and play around with these base shapes and I put additional content or just make another moon shape which is maybe a bit slimmer of the, maybe we want a full lipid like the opposite. So the Moon is maybe on the other side, or maybe it's better seen at a specific time or something like that. This is how we can also introduce legendary content if you want to, you can always go and lock that. So we are not allowed to touch any of them anymore. And we can just highlight and D highlight, activate, and deactivate the content of our needs. So we got our first basic legendary background over here, which we can later on can say, we don't want to have more than six of them as an example. Or maybe we can also say something like percentage wise. Maybe like a legendary as a quantity in general shouldn't be more than one per cent. In general over here. 18. #18 Sorting Backgrounds: Welcome back to the course. In this part, I just quickly want to create or source to all the backgrounds into the corresponding layers. So common ones are four common backgrounds. Literally, I want to use the first top line over here. So maybe a rare one is going to be like maybe these two, super rare might be this two, or maybe there's no super rare in this case, or maybe there's no ran this case. So we can define this later on. We later just need to make sure that we are going to put them into a corresponding area over there. So I would say these are just common ones as the rows one. So I'm going to create in the common area over here, some new layers. So I'm going to create a new layer in the actual SS sub layer of the common one. I'm going to name this one green. If you want to, you can always go further and create even more backgrounds. So in this one, I want to go and take the background and snap that into the corner. So I need to activate the snap here first. Bring this onto the actual canvas. Now hit Control X, go select green, added, paste and place. I want to lock that, I want to lock rows as well. A common literally is not visible over here. So we can say, we don't want to see rows, but maybe we want to see the green one. The fun fact is now I cannot see the green actually. So the question is why is that? Because it is kinda or should be in this area? So let's try and hit Control V and see what's happening over there. But as I say, or as I see, nothing is going to happen over here. So I don't know where the green one is. So I'm going to undo some stops just in case and see if there are any issues I might have not seen beforehand. So that's the green one. I don't know why I went there. I just try to fit it over here. Hit Control X, select the green one again. Maybe it's because the colon is not a visible over here. Now go added paste in place. Now I got it over here. So if I do feel like this one, then the rows one is going to show up. And so this one is going to be the actual green one is showing up. So we can go forward and at multiple more layers, there's going to be an orange layer over here. And I want this to be a sampler, add to it. I'm going to take this one, bring this over here, cut it out, Control X, hit orange, added on paste in place. Now the highlight this one, and go and take the other ones. But this one is, well, what does that color? And how can we just name this? So this one would be maybe blue. This one would be, I don't know. It's a blue-green. Maybe I going to find a name for it. Maybe I'll just name this one turquoise or something like that. I just copied the name over here. I go and go to the corner and common first create a new layer as a sub layer. And just pass in the turquoise name over here with a big T. And I want to take this one, bring this over here, Control X, Hit the actual layer, added and paste and place that we go. Now we got this one, which is going to be literally something like a baby blue or just flew. So this is not inside common, so I just drag it inside the common one. Here it is. So we're going to take it, bring it over here where it should be Control X, select blue, added on paste in place. Now I can hide this one as well. So Toric color is orange, green, rows and blow on. I got another one. I mean, this might be pink, this is purple and this is maybe dark blue. I'm not quite sure. Or maybe I name this one marine blue or just Marina. So these ones could be rare or super rare. Maybe we have one, maybe have the other, maybe we wouldn't have none of these. Maybe we're going to put them into rare as at least so I'm going to add a new layer as a supplier in re L1, which are going to name Marine. Then select this again and name this one pink. What's going to be this one? I'm gonna go ahead and add it as a sub layer and add another one, which is going to be purple. So these might be the super rare ones. So again, this is something you have to decide on your own, so I cannot tell you which one you want to select and be part of that. So I take the Marine One first, cut it out, X, select, Edit, Paste in Place, colored, or just bring this one over here in the corner, cut it out, which is going to be the purple one, added and paste and place. And we need to take this one here as well, cut it out, Control X, hit pink and added paste in place. And so if I now deactivate the purple one, we see the pink one. If we don't see the pink one, we see the marine ones. So all of these are now inside rare. So we can activate and deactivate the actual layer as well as all the sublayers if we want to. And so we are good to go. So we got our red ones here as well. This one would be, well, later on, it would be our super rare or whatsoever. So maybe I going to put it already in place and maybe find an nice design later on I wanna go for control x, this one. Select super rare, maybe I got to, I don't know a name anything yet, so I just put it over there and probably later on I'm going to go and change that name. I paste it in place. So if no common is on, no rest on, well-done, super rare on again, if none of them are on and I have legendary like the night than I can see the night. Again, we can disable the grid or we can later on also make use of the grid as we want to bond. So in that particular case, we are allowed to pull in and put our content as we please enlighten over into this layer. So all the backgrounds are now gone. We are done with the basic setup over here. The next parts are going to be, well creating more content because we need eyes, beaks, and maybe more feathers. Maybe gonna make a super-fast. The one thing, I don't know, maybe we make a background which is glowing with feathers. I mean, that's pretty nice. Probably. Was white switch, which are glowing here as well. Our unbiased way, if you want to change something inside night, for example, you want to take all the stars over here and make them glow as well. You can do so. You can do it as we did with the moon, or we can blow them out over here. But just blurring them out doesn't look good. So I Control C, then I Control C, and then I say Edit, Paste in Place. So I have now done at the same place and I blurred this copies. Well, that's what I hope. But as we can tell, we are in the layer and not the colors. So we are going to only blur literally the outsides of our little stars over here. So they are going to get the globe but still keep the actual shape. That's pretty much what I want over here. So we have a glow in that area as well. Now I can lock the night again because I don't want to touch this anymore. I'm pretty happy with denial at night one at least for the moment. And maybe I'm going to go and create one feather and duplicate this and make this one beautiful and put a bunch of feathers around our actual corners. Again, we laid on need to make sure that whatever SSR is we are going to give them creatures or them owls, that they are not taking too much away from the background and vice versa. Our actual grid is not over too much literally taking all the content into place. Like for example, if somebody says, Okay, I want to use this, my icon here as being part of a Twitter. I can able to let say cutaway some pieces here and there, but we're still seeing the main content. And maybe if there is only an oval or a circular shape over here is that we seem to main content of it. Like if we would put a huge circle around here. So just keep that in mind for later purposes. 19. #19 New Body: Welcome back to the course. In this part, I want to structure out the complete body parts at the first place. Because we want to define and decide what type of different bodies we might want to have in the future. So it's easier for us to tint them based on the basic setting as well as selling all the, let's say, extra shadow pieces up completely correct? For the body pieces, we might have some bellies are going to be well not lit that way, but probably having some, some V-shape and here and so on and so forth. So we're gonna be able to redesign and design content to our needs. So the basics, which are not part of the body like the eye is and maybe the beak. I'm going to not be touched at least for the moment, but maybe the top pieces. And this one here, this hair piece is literally just a gimmick, like an S worry. We're going to go and at least for the moment, I just get rid of it. So I have more of an idea. It was good to have because I would be able to plan if there's going to be a crown ahead or an angel wing or something similar. I'm going to go over there, are going to be over there. Also. We can now planned into more feathers later on once we come to the legendary parts. So for the moment I'm rather happy with the design of style and so on and so forth. If you don't or if you like or just unable any image to motivate yourself, continue working on your actual asset base. So currently I blocked literally everything. I don't want to touch any of them backgrounds. So literally, I just block the main ones over here so I don't need to touch anything of that. If I don't want to see any of that or if it probably hits me or just gets rid of some basic understanding, I can just only will disable the visibility in the layer section. And now I want to take my main body first and maybe I'm going to have a basics are some basics with like four or five different bodies. Since we have five or actually currently almost ten backgrounds, we also need a bunch of bodies to be combinable with different things like different eyes, different, different shades and so on. And different feathers, feathers or let's say different ears if they are seen as ears. And so maybe we can flap down some things here on the side. Maybe we can do a bunch of other things we don't know yet. And once again, this is a dye and design thing. You can absolutely go for it. Okay, so what's the easiest part or piece first, let me create some kind of a placeholder block. Let's say I just want maybe not in the background but inside the Workbench. So I have a point when I can later on go back and snap to this bottom point over here. I don't care about the color and stuff. I just wanted to have this one over this. So if I now drag out some content, I want to, of course, I can go for visibility and reduce the opacity just a bit. I just need this point over there. So I can later on get out and say, Hey, this is my point. I need this point back. For example, if I now drag out the body and see what kind of shapes I can make without these ears connected. So I can decide probably how I want the complete structure to be, to be actually, yeah. So I'm going to take literally everything I need just for this body's. I need the baselines. I just Control D and see where we are, how we can go and where we can go for. So these are basically the pieces we got. Well, there's also this ERP, so I need to undo that and select again. But I don't want the eyes to be selected. So I'm happy I have grouped dumb, but I haven't grouped the actual beak. So I hit hold Shift and decent length the pieces. I don't want to have my selection. So these are the ones I want. There's something else I don't want is the actual body parts from legendary over here from these feathers. So hopefully I don't copy them right now. Because now I locked them and it seems just cut away the actual things I don't want. There seemed to be something extra here and there, so I just duplicate and see where it goes. At least I have this ear with me and this is fine, Totally. So if I now take just these pieces and bring them away, we shouldn't see any feathers behind which is good. Now, this is not a base. The base is literally without these ear pods, but I want to have it so that this one is going to be one, a bass part. So what do I mean by that? Well, I want to make sure that these, these feather pieces here connected to this main body shape at first. But before I do that, I duplicate even further once more. Because I might need to go and reuse the base shape over here. For example, if I get rid of this, this, this, and so on. This is going to be my absolute main base shape, and I might need to go and optimize that a bit later on. But if we do the same thing here and get rid of that, we need to take a look how that thing is going to look in general later on. Now, when I take this body-based body piece over here and this biased by the p's and this one length for this feather area. I should be able to combine them without any problem. So I got to hit union. Now, since they have been popped up, I need to bring them on down until I see all my basic parts back again. Like so. Now we are having another issues. So probably I need to bring it one more up, Let's see. Or maybe one more down. Know, this P is here now needs to be cut. I'm like the shadow P is, it needs to be cut by this area over here. So we need to bring that away from the actual shadow because it is going to form something different. Also, I want to do a copy of these things and I might need to do some double cuts here and there. So why is that? Well, these two, I'm going to duplicate them. Control D. And I could go probably get rid of that, at least for the moment. Gonna do the same thing here. As long as I do have this connection points, I should be able to copy and paste and downward snow issue with that. But what I want is I need the space from this, which is going to form the main shape over here, away from the actual shadow area. And also this area over here should be shadowed. So we literally need this piece at this piece, but then we need an extra piece which is going to give us a shadow possibility. To do that. We first off cut these things, I believe. So. Instead of taking the copies over here, I'm gonna get rid of them pretty quick. I need this one now. I'm going to duplicate this one here first, once. Now I take this and this and say, I want to have just the difference. So I have only the piece. I'm gonna do the same thing for the other side. So first off, take this body p is Control D. Take this. Then I say, okay, pass difference. And now I only have this p is, and it's colored on spot. I duplicate this right now, bring them up just for the sake of testing and possibilities. And now I want to add these two pieces. The main body, like so, I'm going to say pass union. So now the gap, the same part on the same colors. These here, these need to be part of the shadow area and, but we need to cut out as shadow area from here. So let me undo quick. Since since that piece here now needs to be cut first from this area. So I'm going to do duplicate this. But that does not Oh, that doesn't really work, that's bad. So we need to do this a bit by hand. Let's say sometimes it's just, it is what it is, right? So we can say, okay, we want to cut from here to here. Now I just need to find, let's say, rather smooth shape over here and just do it maybe like this. Why do we do this? Let me take the eyedropper pretty quick and show you. We need a fill. We need to know outline. So you can see we need to make sure that the shadow is cut by the actual ear so we can highlight the full area of we want to for that particular purpose. But we don't want, we don't want to lose this shadow area and we want to add this to be a shadow area later on as well. So in general, what we need to do is we need to take now to this, we need to add this. So we say pass Union, at least for the moment. And now, when, once we got out, there was actually wrong, we need to make the opposite. We need to take the shadow and take this one here away from that. So we say pass difference. Well, it should be correct. So if that one here, we drop the one down, you can see here is going to be a gap. We need this gap. We need this camp on the other side here as well. So I'm going to create a new point here. Go literally to that point. Just close somewhere. Make it, let's say beautiful background. Fill it with any color, no outline. Now we select shadow, then we shouldn't select this one and we say path difference. So now we see through the actual area. So this one here is a full area and this one here is the caudate away areas. So we don't have the shadows in, in our way. Now, we're going to add this year of labs, the bottom ones over here to the actual main part. And then we're going to add these parts to the shadow area. I hope that makes any sense. So we now take again the bunny and these, these labs over here and say pass union. Now we got the same color as you can tell. Now we're going to take this down and hopefully we are able to snap them. There we go. And once we have snapped and we now want these two pieces to be part of the shadow, because these are shadow parts actually, we can say pass Union. And now they're filling literally into the spot. If we want to do an extra shadow, especially here under this year and area. But because maybe it's a bit darker over there than anywhere else, because as we have seen here, that might look a bit better, we can do so. So nobody holds us back, but we don't need to touch any of the main lines, any of the main mechanics. So what we can take, we take this point and look for any good point over here. Maybe we'll make it like this and maybe go somewhere here. Like so, at least for the moment. And so what we now can do is we can try to fit it in here because the base of the body is literally over there. Oh, we just do something like as we did before. So I make this one black. I guess that could look nice. Yup. I believe I'm like that. And I'm going to make it so that this area over here is not as harsh. So maybe I have a slight overlap. I can still go and move around things. Now I have this one and this one. And I want the intersection. Well, no, I want the difference. So I need to copy this Control D. No, that's wrong. We need to undo that. Now we need to take the shadow, Control D the shadow. Now it tank the copy shadow as well as the small piece. And then here we're going to need to do intersection. So we only have the intersection and between the bot to literally just take a look. There seems to be some weird something happening over there. Not quite sure what it is about other teams that our actual connection over here is not 100%. So basically, I should be able to smudge dumb things together. So there are some override C or some spikes. I don't really want to see. So I'm gonna get rid of these. I'm gonna get rid of these. And I get rid of these probably just have been too close together. Or maybe I'm going to reset one of them. Or in general, all of these handles here, but except this one, maybe this is needed over here. So now I might want to go and have to update this one a bit. Maybe I should have before merging them together, maybe I should have done a different step beforehand. So we need to get rid of this point. But this point has the actual main shape of our body. So we don't want to ruin the actual shadow area. And we probably have multiple possibilities to get around this. So first off, I want to get rid of this one. And there's still this one spike over here. I don't really know what it is for. But it seems so that there are multiple points at a spot. So I tried to merge them all together. So here join nodes within a segment. But there's still something I just don't get and we need to figure out what that is about and where it is literally coming from. So best, best-case is probably for the moment, just get rid of that piece and see if that is the shadow issue. And it doesn't look like it. So the shadow looks okay. It's kinda cleaned up here. So maybe we can later on also play around with the shadow if needed. I'll just merge those points here. Join the single selections. And these are, these other pieces are not part of the actual, these pieces are, these arrows are coming from the main body because there was nothing really popping over. That's why. So maybe the next time we are going to do something like that. We might want to get these things a bit different, set it up, let's say. So for now, let's just connect them or just get rid of content we don't need. As you can tell that there's a problem with the actual shadow area. So we can try to lengthen here until we reach the corresponding point. Again, gonna get rid of this one here. It's a bit, a bit awful. Hold Shift to drag a new handle and try to fit it as best as we can. So we don't have any. Any wrong highlights at wrong positions? This is something you might pop up on, might come across. And we cannot do much gains that accept trying to avoid them. In general, maybe there are some issue here is you're seeing there, so something is wrong with this one here. So I just hit Alt and hit Control and select them and see if we can get rid of this arrows. Same thing on the other side. Just a little extra work. Nothing I wanted to have. But it is what it is. So we try to get used to it. Hit Control key and just select the little handles. Zoom in again and see if we can clean everything up as much as possible. So same here. We might get some distortion here and hit Alt. Hit Control and see if there are any issues with the overlays. But so far it looks good. So no issues with these sides. Just the other side had a small issue in the actual body area as well as in the shadow area, but that's fine. Nothing fancy. Nothing we can actually handle. So now we're gonna be able to take our shadow piece back into place and we're going to see, okay, the issue comes from this point it seems. So there is, anyhow something separated over there. So we can try to fill that out and see what could be the issue. And we can see there are three points above each other. So we try again and merge them together if possible. There we go. So now it is a joint selection and we can pop this back to where it's supposed to be. And we're going to clean this up a bit and it has a stroke, we get rid of the stroke. We don't want this. We can now reduce alpha to, let's say, another 50 per cent. And so we still have a shadow area and so on and so forth. So final thing is we just need to make sure that this shadow is fitting literally that shadow. Before I do so I merge these points just in case there are a bunch of other points over here. So maybe we're going to take the cutout and the pure light this a bit. So the shadow area is going to fit a bit more, let's say, or a bit better. So there are still these issues here. So maybe I can just take it downwards and it looks better. So we don't need to touch this anymore. And I wanted to do the same thing for the other side over here. So basically, I get rid of the other issues literally and just put in another shadow area. Basically the same way as we had before. You can always go and see if we just rounded this one inwards and just painted over from these corners. So basically, when we go here, I brought it up and down. We just add this area to be a shadow area and see if that matches well, doesn't look too shabby. Maybe I'm going to go and bring this point a bit up. And now I want the intersection P is from the actual shadow areas. So maybe I'm going to bring this little point here outwards. So it's not like heavily starting at this point. And now I'm gonna take this area and this area and say, I want, well, I need to first make a copy of shadow Control D. Select this and then we say pass intersection. So this one should intersect 100% at spot. Everything for this purpose should be good to go. So this one had an Alpha of 50, so we're going to put an Alpha of 50 here as well. Now, why do we do all of that? We want to save time. Because when I now tint this, this base color of this, for example, to be blue. Everything else in, as well as all the shadows are going to be tinted blue as well. And you remember that? And if we pick this one, then everything is over there. So this is our first basic body shape right now, which we can now use. Tinned at any point and any kind of, however we like the other buddies saves literally need, you know, the ears. We're going to create them now in the next couple of videos. So and then we later on bring them back into our actual positions. 20. #20 Recap Body Shapes: Welcome back to the course. In this part we just go and pretty, pretty quickly make a recap. Since I lost some of the video content I have created, because the microphone has been muted. Who, for whatever reason. I want to show you pretty quick what's going to happen over there or what I just did. So first off, we were sorting out all the backgrounds into multiple layers over here and we are able, or in loud, let's say, to enable and disable common ones. Like are any of them backgrounds except the one over here, which is a super rare one. But we also created this one over here. What we also created is inside the workbench, we were just creating some main shapes, some main ideas. And we will literally creating one of the bodies shapes like the combined one with these ones over there. I just made it one so that this is going to be, I believe, my rare shape now, not the rash I bought, maybe the super rare shape. So when I deactivate that, well, that's not the one. I was probably pulling this one inside the legendary folder with out the feathers over here. So this one is the one, you know already. So what I just created are some feathers as being some highlights over here, nothing fancy. You can just cut them in and cut them out and copy and paste content. That is what I just created as an extra for being my legendary layer. I'm sorry for that. If you haven't seen this actually, well, it's just, you know, we're going to create a tongue shape literally and put some feather content on painters around as we just did with the shadow areas. Thanks thing. I just created as an extra shape over here, which is literally the same shape as we have done beforehand, but just with smaller ears literally, and some little shadows and the bottom, so nothing else. For the end, I placed them all on to the actual grid piece of a year. So all of them are going to be above each other. Next one is I created, done I around but a super rare one which has like other feather kind of shapes over here. Nothing fancy. Some codons and some cutouts. And so once again, you can go for it and create multiple ones, multiple bodies. I liked the skull idea which just popped up out of nowhere. And we can always go in and create even furthermore of them. So in here I just put it everything here on this box area as I just explained beforehand. So as being our snapping point, I was just cutting them out, of course, out of the workbench and just putting them in the normal shape in general, all my common body, I just updated this little area so it's not like too spooky over there. It's just as a penguin shape literally. And later on we just need to go and update everything accordingly. So I'm sorry about that, but basically, it's always just copy paste and add additional content. If you haven't created the owl over here or the owls and general over here, then it's nothing fancy. Actually, you haven't missed something, of course, because of the tools we were using are always the same. We cut away the ears from the shadows and then we add the shadows together and cleaning up a bit here and there as we always do. The next couple of ones hopefully are going to be recorded completely correct as again. So once again, you have mismatch adjusted multiple copies of the body, as I already showed in the last video for this specific one. Again, what we can now start to work on is a basically all the other pieces like we are now, continue creating multiple eyes with multiple colors and maybe in a different mood setting, I would say so. We're going to have red eyes with a specific mood and stuff like that. Or maybe we just have those yellow eyes. We have the ones which are going to be Reza much open like these ones over here and so on. And this is what we are going to continue. Maybe we have also something was closed always, always left and right looking eyes and so on and so forth. So we're going to basically do the same, kind of the same, let's say its head up as we have seen over here. Okay, so I'm sorry about this, but for the recap, basically you should have enough bodies right now. Hopefully I've created like five or ten different ones. And this normal or with this base, a setting, as I just explained. So if we say, Hey, we want to have a red Owl that every piece is going to be rent basically over or by the setting itself and so on and so forth. So we can later on go for other content here as well. 21. #21 New Eyes: Welcome back to the course. In this part we're going to go and start creating eyes. And for that, we first off go and restructure our actual workbench. So first of all, the body shapes need to be above the actual background. So I'm going to drag the body above well, but not inside the Workbench. So we need to make sure that this green indicator is like literally in-between them. So we got the backgrounds and the background, which is the last layer. We're going to stay with the grid above and we have the Workbench still above everything. However, the eyes needs to be above the body. So what we're going to go and we create a new layer and rename this one I is. And it's going to be created above that. So I'm going to go and put this down below. And in this iss, a layout, we are allowed to work with all our eyes. So we're going to have multiple modes like this one here is maybe a skeptical, I don't know. Maybe we can also go and differentiate between different ice and scenarios. And I want the skeptical will be part of eyes, of course, right? So we're going to have a left eye and the right eye. And we can have different scenarios like a one as open one is close to one, a skeptical one is not, and so on. And we need to later on just define how we want to serve that, how we want to a, set things up. I'm going to take our workbench, eyes Control X, go into skeptical and save file, into edit and paste and place. So we have this one now inside that. We can also get the beak and maybe create a big folder pretty quick so we can take actually can get rid of the workbench completely because we don't, I believe so need this anymore as well. So we're gonna go and create a new layer above the current one. It's okay. I'm gonna name this one beak. And in beak we just take everything which is part of beak. So tried to take just big pieces of a year. We might need to go in and create a new one. I'm going to cut it out completely and say beak, I select beak. I going to go and paste in place. Now we can deactivate and lock the workbench. And the beak needs to also be a buffer buddy, can be below or above the base, the eyes. It doesn't really matter. Now we can lock the body parts so we don't touch that. And we can say, okay, whichever be body we want to work with, we can activate and deactivate it or highlight and D highlight that. I'm going to deactivate them all or activate them all. Just make anyone, any Leon, nice layer over here visible, whichever I want to work with. And now I can play around with eyes, unlock the beak for the moment as well. So what we want is a basically maybe some eyes which are like literally as much open as this one over here. Maybe it was a big pupils, some little reflections, of course a shadow above, as well as maybe some gradient colors. And as we already got over there. So I got to block this skeptical ones and just create new ones. I hold Control and Shift bar, as you can tell in a locked and invisible folder or structure, I cannot do anything. So I add a new one. I just named them one open because I don't know how to name them, at least for the moment. So I make a part of eyes make it open, make it not locked. And now I can try and see, okay, what does a good size? I don't know. But maybe I'm going to basically yeah, that doesn't look too shabby. Maybe I can reuse some things as an example. I can reuse some gradients. For example, for example, we got this yellow, this gradient over here. We can absolutely reuse that over the complete size of the eye. Now I want to maybe big pupil, black one as we just have seen. And I just need to go in and see why my color is like the opacity is down as you can tell here. So we're going to increase the opacity. I want to see if I have an opacity possibility here. There we go. It looks way better. We can now say, hey, where do we want this i2 look, so the further it is to the right, it looks to the right, the furthest to the left. Well, the owl is going to look to the left so we can just play around with that. We can also say, okay, we want them both to gather like directly centered. That's possible as well. So we just go to our Align tool. And instead of having page over here, we're gonna go to the first selected setting and say, okay, just make it so that both are going to be literally in the center or completely centered if we want or we can clean up the workbench a bit. Because we don't want to have the body of the boat workbench here m left anymore. So I still want to keep this content over here. So what I do is I clean up the workbench now and get rid of everything which I don't need anymore from the workbench, which are going to be like all the ears and stuff like that. I tried to, first of all gonna go and block everything but the workbench and see if there's something left, which is this one. And so all of that in the workbench can now stay active. I just make it so that I can work with that I unblock the actual open eyes layer here, as well as the skeptical if needed. Now I can continue work on that. So because now I can grab information, grab ideas from existing pictures and stuff like that, you can google and things like that. We're going to see we got this outlines happening over there. We got outlines happening over there. And we got outlines here, and we got outlines there so we can use that information. For example, take this one here is a dislike, the color base and the stroke paint literally, well, first off, a full color and maybe not a red one. And we just need to fill out what we want to see you over there. So currently it's like, you know, something weird is happening over here. So because the Alpha is literally 0, so I'm going to go and reduce the stroke size first. We maybe one, add a stroke. And now I go to fill the actual stroke paint fill. And then I take the color picker and maybe take this base information at least for the moment. Later on we can go and pull more content into about the reflections. We can be as creative as in the photos, like doing some roundish reflections, or we can just use the same reflections as we used before. Maybe I gonna go and pick or just take a look into the right over here. Maybe we can also make some other nice content for that. However, what I want is maybe some better or maybe a bigger reflection over here. So I painted just n. Maybe we smooth that out. Doesn't look too good. So maybe I'm going to make a bit more smoother curve over here, maybe of 40 and see how it looks. Maybe like this. So it's smoothing out the curves and we don't have too much of these weird things happening, like weird rotations and stuff. And we just see is that is actually fitting. Our needs are going to make another one here, maybe just literally just a so-called maybe another one over here. So I can play around with these. I would go and do something like, like those gradients here and maybe take the color and reduce to, let's say 50% or something. So it's not like too much overwhelming. And can do the same thing to these or just keep them as they are. Basically doesn't really matter. Well, at least not for me, I would say. So we can go to the fill and play around with the density of the shininess and the highlights are probably probably the actual fill over here needs a bit more power. So I'm going to increase the Alpha completely again and see how it goes. If it doesn't look nice, I can always go and change things. So currently I don't like this one here. Looks like it is a split. So I'm going to combine them a bit and then try to not have any weird outline shapes. So it does look rather smooth in the end. I can probably take this point here and maybe reduce the power of this side here. That's not too shabby. Maybe we can also put another shadow area, may be here in the center. Or we're going to take this one into another side. We can rotate and bring this to a position where it makes it most sentence. Maybe. If you don't like it this way, of course, feel free to change this to their needs. Maybe I wanna do some dark highlight and the bottom here or here, this middle area basically are going to do the same thing as I did before with that one. So I literally just painted in anyhow and smooth that out maybe later on. So I'm not quite sure of that is recognized completely noise, but we'll see, I'm going to make this one black first. Get rid of the outline because you don't need it. That's a bit too smooth actually. But it's fine for, at least for the moment. I guess. We can also cut away things here and there if we don't need them. And try to be as precise as necessary. Of course, if you need more points and just double-click on the line as usual and add one to have more control over the lengths in there. If you're happy with that, I guess I would put another point here. Maybe bring this a bit more inwards. So there's a bit more control over the long side. And I don't really like this shape here. So I'm going to smooth that out a bit. That looks better. Now I'm gonna go and put a gradient, as I said, from inside to outside, like so. And maybe reduce alpha or just opacity in general of this stroke over here off this fill in general. So currently it has like a gradient fill like this one, but we can still go down here with the opacity. So we don't have like full power opacity. I guess that doesn't work. We can always go in and change to any other, any other good, Let's say good feeling things. So maybe we're going to use Alpha here and reduce alpha here a bit. So it's not like hitting too hard. Let's say. Maybe some things which may not look nice, but well, you get the idea once you are testing that out and you will become better over time, just test things out, see how they look if they don't look as you please. Well, for free to re-learn, reuse things. Once Randy was that we can duplicate the eye and put this onto wedge supposed to be. Not quite sure. Just zoom out and take a quick look, see if you like it. And if you don't like it, that the owl is going to watch to the left. You can also say, okay, we maybe want to go and make it look anywhere. Like, you know, left or sideways, or maybe going to have a center look. Pretty good. So now we got a different I pair. If we want to, we can also put an extra shadow area above this. So bright open or this huge open eyes. Once again, what we can also do is we can see if we may need to go down a bit or if we need to go up a bit. So all of that is, again, a design decision you need to come across with on your own. I cannot really help you with that. But I believe we're going to maybe enter some shadow area around these eyes over here. So they may, maybe it's going to be a basic something about this area because this is literally always a bit higher. I'm like, as we can see here in this area over here, this is going to be higher area, this is going to be a higher area. And we're going to see this literally everywhere because of the beak, it's going to go outside. Same here. We can go and put some shadow in this area maybe, or some highlight, maybe, or maybe some quick change to one or the other thing. That is basically everything for the eyes. We can go and create hundreds of different eyes. You can make them red. Small, bank at different colors of course, and so on. We just keep the highlights, we just changed the main colors, but that's what we're going to call continue work on in the next videos. 22. #22 New Eye Colors: Welcome back to the course and this part we're going to continue working on the eyes. So currently we have the open eyes and the, let say skeptical eyes. And what we can do is we can create them pretty quick and multiple of them colors literally. So what I want to go for is I want to reorganize the open eyes just a bit in its base. So because all the open eyes will have the same pupil, the same lighting, the same shadowing, but different color base. So I wanna go and split the content apart. I'm going to name this one, let's say pupil. And everything about this is going to be, you know, as a supplier over there. So I want the pupil part of the open, but every camera based thing is going to be like below this inside open for example, I'm going to add a new one. I can now say this is going to be a yellow with y. So a yellow, I literally, so we got an open eye and a yellow color tint. But below the pupil, the pupil needs to be above yellow. And now we need to split them and sort them the way they should be. And so we do not touch the pupil inside the open eyes anymore, since we are literally done, was that we recharge them later on if necessary. If we have maybe something specific over there. Later on for the eyes, we might gonna go and split things also up in common or rare, legendary and super rare. So for the moment we want to have the, all the yellow content of the I, like both sides Literally, I'm going to hit Control X, thumb out, press the yellow and go and paste them in place. So they are now what were they supposed to be? Well, that will be hope, right? I'm going to block it for a second. And those pieces here, they're all need to be above all of that. So I tried to select them all, which shouldn't be hard because everything else is blocked out. I'm going to hit Control X here as well. Make sure I got everything. Select pupil and say it, it plays paste in place. Now, deactivate or reactivate the yellow one, I can now say, Okay, everything stays, but the pupil and all the other layer content is going to stay as is. Now the fun fact is going to happen. We can now just duplicate the yellow and just change the actual gradient as well as the actual colors to be like purple, red, yellow, green, whatever we place unlike of course. So this is what we, what we are able to reuse right now. And once we got the gradients down, we can also reuse them also later on for all the other ones, for the other, actual skeptical eyes can be red and green. We can also make something legendary where one is purple and another one is maybe green or yellow or something like that. Maybe it looks a bit weird, but maybe that's something special. And let's say, so for that, I unlocked the yellow one and go and duplicate this. So we go to duplicate layer and I block the yellow one so I don't touch it. And let's say, I'm going to rename this one to be red. Going to need to do this again. I want to keep this sorted. Don't forget to save often in between by the way. So what we now need to do is we just go and select these eyes, or one of these eyes which are selectable. And we can have like these three anchor points as we know. So we can now do is we can just select one of them, go to our fill and stroke, and just go and change the actual color of them. Maybe to be somewhere here. We can do the same thing to the other ones. Just shift over and see how it goes. The last piece is going to be this one over here. It's going to be darker as well. Maybe we find a good one. We also need the outline to be different. So we go to the actual stroke paint and take a, maybe a color picker and pick maybe somewhere here in the very top. But that was literally wrong. So we try again. We want to change the actual stroke, paint. Take the eyedropper and try again. There we go. And now we got it. Now we have literally the I done. If we want to do changes, like for example, how we want them to be, let's say a bit different or so. We can also take the bottom one and give it any other tint. As you can see, we can play around with hundreds of different possibilities. We could even implement a rainbow I over there. Once we are done with data, we are happy with the result. We can just copy that over to the other side or just, you know, put the gradient and the same settings over here. The easiest one is we just take the gradient like this. And now we're gonna go to the stroke, take the color or the eyedropper and just eyedrop this one. And we're good to go. Since we have all the gradients here in the list, we can reuse them easily for any other eyes later on as well. So the final step is we just have safe that we are actually we need to save that. But there's something fishy over here. So let's pretty quickly see why this is going to happen, why the shadow is going to be a bit off. So as we know, this is part of the pupil. When we deactivate it, It's not over there anymore. Also, there seems to be something else happening inside over here, which I haven't seen before, and we don't see this over there as well. So why is there something yellow happening? Well, it is because there is something yellow below it. So again, if we deactivate this, we're going to see now, um, the actual eyedropper here, it dropped not just the color, it dropped a fill like a stroke on the stroke over here. And over here, they're not literally filled at this point. So what we're gonna do is we unlock this red one. Pretty quick. I select it first. I want to see what the stroke painters, and as you can see, it's a gradient as well. And we don't want to have a gradient will want to have full color. So again, if I want to, I can select this color over here. I want to see you, it's 100%, they fill color another gradient, even if it is possible for you to implement this. Now we go back over here, deactivate or reactivate this. Now we can see pupil everything is as it should be. Also the shadows are now as they should be. So nothing fancy and nothing wrong with that. Now we can continue with that. We can now create ten different colors as an example for eyes, or maybe five. However, on how much you want, I'm gonna go and skip this process because I believe now you got it. So you just duplicate that and make like ten different colors just for that open or maybe round eye setups over here. 23. #23 More Eye Updates: Welcome back to the course. In this part, I just want to show you a small glitch with my might happen to you when you are creating or working with those gradients. So what I did is I just copy and pasted different ones over here. So now I have a dark one. I have literally white or gray ones. I have purple eyes, green eyes, blue rod, and of course the yellow ones. But if, let's say you are going to duplicate this yellow one. So I'm going to try that. Duplicate this. And I'm going to make a blue one, or let's say a baby blue. I can do that. Baby blue, just rename the layer so you know, what is it about? And when you now go and select this baby blue, so I unlock it here. I also like the purple just in case. And I select it and I want to change now this area or this actual part over here to be part of the baby blue literally you're going to see some weird things happening. For example, currently it's reading gray input instead of whatever new input I want to create. So first off, I now need to go and put the saturation up neat to see what the issue could or might be. So it's literally taken, I'm from this fills over here, it's going to take an wrong inputs. Now I'm going to do the same thing here. You can see saturation is up pretty good. So when I now change this one up over here, then everything looks like it is correct. I'm going to do the same here. Maybe I'm going to take the top part of the year, make it a bit more *****. So we have a bit more of a contrast. Maybe, maybe like that. I got to take this contrast color now and I would copy it control c. And now I go to stroke paint. And as you can tell, this color picker over here, this color palette does not change, it doesn't update. So what I do is I select something else over here and select the same thing again. And now I have updated this color over there, and now I can pass over this information. Now I'm going to do the same thing for the other side. I go to fill and now I select this new fill over there. And I can see now this gray now has refills and does yellow has refills and I don't know why and we're going to take a look into that in a second and who is actually affected by that. So I now need to fill or a change the stroke paint over here as well to the color I just have copied. So currently you can see now it is gray and nobody knows why it is. So I can also go in here again and select this actual blue. Now I have another one which is still going to be this highlighted blue. So we're going to take a look into who is going to be affected by that. So again, to the stroke paint, I want to go and change the stroke painter to the actual value over here. But again, in this list over here, we can see there are three yellows now it should be four and there's one more blue which would before. So how does it, Why is that? Well, I copied from this yellow layer. And if I hide this now you can see that this yellow layer now has also a blue eye over here. I lock the baby blue just in case and unlock the yellow. You can see this one here now uses the wrong setting. We need to make sure this is using this yellow tint. And so you can see now, it looks like everything is in order. Later on these numbers are going to increase. We have four times this gradient y because we got the other pair of ears, pair of eyes actually as well. So we might need to go into and change or, you know, just reuse them gradient's since we now have them already, we don't need to update the content accordingly or just not even need to copy and paste. We just need to make sure that these color codes later on are going to match for, well, for the surroundings over here. So now in the end, I'm going to have now yellow. I'm going to lock the yellow just in case I don't do any mistakes. We've got the baby blue, the red, the blue, the green, the pump or the gray ones? A dark one. Maybe. I don't know. Maybe it's a bit too dark. And this is in total like 12345678. So I have a total of eight colors. I don't count the pupil end because that's, you know, it is what it is, is just about the pupil. So these are the actual colors over here, from dark to a yellow. And if you want to add more to it than you are absolutely able and free to do so. Now we've got multiple eyes with multiple colors. Not really rare and rare ones, but the rail or a legendary ones, or maybe, you know, flip eyepieces. So maybe with two mixed colors where I want as yellow and another one is purple or green and one is red, something like that. So what we now need to create these multiple other different eye shapes with other pupils and stuff like that. So maybe from the skeptical side. So if I just hide all the open ones and go for the skeptical, you're going to see a difference here in equality as well as in shape and stuff. And what we can also later on do we can mix the skeptical like one side is skeptical, one has an open I like super skeptical it to Laura. And literally, so how do we do this? Well, first off, I don't want to throw this one away, but I need to sort things out first, like all the highlights, shadows and the pupil as well as maybe this eyebrow, It's going to stay everywhere, the same thing. So to do that, we need to first off, rip the pieces apart and to, let's say maybe left side and a writer or maybe a skeptical is always one side like this, one side like that. Maybe we're going to have one which is not, this is more like a mat, not a skeptical. So maybe I'll rename this one to be mad first. So this is like a matte look and I now duplicate this one. I named this one skeptical. So it's basically a mix of Bose, skip skeptic are skeptical. So the mad one, again, I just don't, I don't want to see this being a mad, this is a skeptic one. So both still have the same thing. So I hide the skeptic for the moment. I know I actually, I can hide the math for the moment, but the skeptic is now going to become, let's say, another eye on this side over here. So in that purpose or for that purpose, I just select this AI right now because I made a copy inside this math so I can unhide this at anytime. And now I'm going to go into the yellow open piece over here. I unhide this one and I make the other ones literally invisible, so don't have any issues with that. So I only take stuff from here. I want to see the pupil. Now you can see these are literally and different scenarios and different settings. So we need to make sure that maybe the skeptic eyes are going to be a bit down. So there may be more matching the actual base of an eye and maybe we need to go on scale around and position them accordingly. So this I, for the skeptical might need to have a different or a special setting or maybe another shape. But for the moment, we just take it and make a copy. I'll just, you know, just make a copy control C. Now we can lock it again and lock the pupil or hide the pupil for the moment. Go to the skeptic one. And now we're going to say we want to edit, paste in place. So we got like an open one and not so open one. And now we can design literally based on maybe this information we got on the skeptic side. So we got kinda have like maybe the same pupil size alike. We got on this side of the here. I'm going to open pretty quickly the groups, so I just ungroup it and take everything I think, which is necessarily like highlights pupil and so on. And Control D to duplicate and just bring it over and see if we can make something out of it. And as you can tell, that doesn't really match. So maybe I'm going to make this one here a bit squeezed together, so it's kinda matching both directions over there of the eye. Maybe I need to again shape or reshape them here in a bit, maybe make it a bit bigger or smaller. So it kinda matches in total. Also on the left side over here, I might want to go and use the same frame color for this one. So I can go for the stroke paint at this point and just pick the eyedropper and get it from there. Maybe it helps us out a bit more, let's say original or be more original. I'm not quite sure about this, but maybe if I select this and this are actually not that one, but the pupil itself, maybe we're going to go and arranged them a bit so the pupils more in the center but slightly to the left. So I'm going to just take the actual pupil here. And since we have like a sideways change to the right here as well, and maybe take the highlight and brings us a bit to the side here as well. So it's maybe more matching also what should match as the outline size of the actual stroke paint. And currently we have one millimeter on this one, but we have not one the limit over here. So I might go and increase that at this point or decrease on the other side or one or the other should work. That's the shadow which now needs to maybe match up a bit more. And we might want to go and use the same over here and the inner ear in the inner side if we want to. And to do so, as you know, we just create one thing, put this like a moon shape over there. We could also go into the other eye and copy this one all over the place. So the best or the easiest one is we just create some kind of a moon like shape in here. Drag around, see where we need to go and where we need to be. Full folder, complete. Area. I'm combined that at the very first place. Now we need to match it up. So we need to go and make it so that everything matches position and content. Also reduce length and size of different handles over here. So this one is the inside handle. I might go and use it here. This one here needs to be a bit more flattened or flatten out and there's a bottom one needed. So I hit or hold Shift and bring this outside of it because this one has a rather long one and it's not broken apart. So maybe we need to get rid of some pieces here and there, or maybe break apart some shapes. Maybe sooner, maybe later. I tried to fit it as best as I can and make it blank at least for the moment and get rid of the outline. You're going to see here we got a circular shape it seems. Or maybe, you know, we got a lot of just a straight gradient. So basically what we can do is we make this one here gradient as well. So we go to fill gradient and then we pick the one which we have selected probably, or we just had selected and, you know, maybe fill that in as it is visible over there. We can also take this and brings us a bit of way. So it's not like literally not too much happening over the body. You will get the idea. So once again, we tried to fit all the actual contents. Maybe you're going to drag a new handle out here. Maybe reduce the size of this Hendra a bit so it doesn't over whelmed too much at this point. Maybe reduce here at this side, and maybe take the handle from here and optimize that small area at least a bit. So it looks kind of matching to the other side. If you're happy with the result for free to save and to stuff like that, I might go and use an extra highlight over here from the other pupils. So I go into that pretty quick. And I need to make sure that I can copy this from that one specific points. So for the moment I just take goods, cannot copy. Now I block it again and, or hide, go to skeptic again and do a paste. And I might need to go and, you know, play around with data, maybe rotate this a bit here and there. So it literally starts to match the design I might want to go for at this point. So this is something we need to, you know, everybody has to fill out. You need to fill out our need to see you. Where do you want the highlights come from? How, how deep do you want the shadow area, how high or how much density do we want and the shadow area and so on. So I don't like this. I, I would go and try to optimize that a bit here and there. But this is, this is always the case. That can happen quite often because we may or may not know what we want here. And so maybe I'm going to reduce the, the actual shadow in wards thing a bit. So we can, and we have to play around with all the shapes until we're happy with the result and the design looks as it should. It's kinda sticking out and I don't really like this highlight here at this point. Usually I would put it maybe on to the other side as it has been before. So maybe I just flip it over and see what's happening if I put it there. And maybe I also get rid of this inner shadow piece here in general. So it's, maybe, maybe it's not as good as I thought beforehand, or maybe I gonna be able to make a bigger this shape here happening. But I don't think that I need this one in general. Since my Since my other eye is over here are probably a bit better in setup. So maybe I'm going to take the pupil piece of the others. I'm like from here, the complete pupils setup. Going to make a copy pretty quick. And just take the complete setting from one side, copy that all over. Blocket again, go into skeptic, unhide, maybe get rid of all these pieces for the moment and paste in place first and see how it looks. So probably I just need to reduce. Size, but that looks kinda spooky and this is the this is what I what I don't really I don't really want. So maybe I need to get this one a bit, at least a bit smaller. And maybe this highlight here needs to be somewhere else. So I just need to play around with that and see what is going to be going on and what could it look like? It's kind of skeptical. What's still has issues. It seems It's looking at Halloween. Maybe, maybe I need to do this. And maybe that maybe a bit more to the right. That's kinda close, I guess. Control D to copy that one here. Like so. I don't know if I wanna keep it this way, but I believe it's quite close. So I can always go and test out things. Not quite sure. So maybe I'm going to get a better idea for that later on. So it might not look as spooky as it currently does. Maybe, maybe that one will do. Maybe I need to shrink down a bit sideways at these, so this one is a bit bigger. So maybe we need to oversize it a bit. Not quite sure. But you get the idea. So make it as beautiful once again as you can. I guess I'm gonna have to bring it down a bit. Maybe need to have the same size and maybe a bit to the left. And maybe you need to have these eyeballs at the same setting. I would say, yeah, why not? I just keep it as is for the moment or maybe later on you want to put some cat eyes or any other kind of eyes, play around with that federal out, see if they work for you. If the skeptic look in this particular case is going to help you out or not. And if you find it so that it is going to work well then we can also put things into place. The mat ones, maybe you're going to we're going to put the med ones down below here pretty quick as well. So I just unlock the mat eyes. There are two groups, bring them down. So they literally match. And well, it seems that I just need to scale them a bit. So I'm going to do quite some scaling and going to maybe you do scale this one here just a bit as well. So they are like literally above each other because I squeezed this one here a bit together. I believe at this point there are in good shape. Now, I need to take the outlines and make them bigger, like one millimeter or whatever it was. So I go to stroke style and make it to one millimeter. And I also want to pick the correct color at this point. So I go back to stroke paint and pick this for the outline so it matches and same here, stroke style. Well, I need to go and double. Cool. That was wrong. I'm going to undo that. I need to select this one, go to stroke style. Or actually we need to double-click because we need to open the actual area. And now this one is also having, again the wrong color. So I need to go and color pick pretty quick this outline color on that better. Now I can lock mat again. The math ones are looking at it more matte now. That's nice. So now I can go forward and see, do I want to work on the skeptic ones or do I want to work on the mat ones basically, as you can tell, there's almost no difference. Pretty nice. We're going gonna be able to continue working on the other pieces. I double-click once again, I'm leaving the actual selected groups. If I am in one, just double-click somewhere outside and you are good to go. Don't forget to save often. So you don't you don't lose anything. Hits Control S for quick save if you want to. And that's pretty much a good step. The next step we are going to tend all the mat eyes into the corresponding colors are the ones we already have. 24. #24 Bored Eyes: Welcome back to the course. In this part we're going to go and create some other eye shape over here, maybe a flat one which is going to go like like board or something like that and maybe we are making it so that is looking to the left or to the right. We can literally reuse content over here. We just create new ones. So I'm going to go into the aisles, eyes layer over here, just right-click and create a new layer. So we just add new layer and we're going to maybe say something like board. So we want to make it so that it is part or actually a supplier of i's. So we can play around with these things. So what we can now take is inflammation. We just find or found already, or maybe we just use half a sphere as an example. So what we can take now is we just make it like so and cut the eye into multiple pieces. So as an example, that is going to be the eyeball and this one is going to be like our actual shape over there. I just get rid of the shape in general. Then we should be able to make this 1.5 by this one over here. So how would we do this? We select this 1 first, go to pass and say difference. And so we're gonna get automatically an eye or likes, like a basic eye shape over here. If we want to, we can just, at least for the moment, we're gonna give it some kind of a color for the moment. So we see, okay, everything is fine and dandy. Now what we wanna do is instead of the center point over here, we once again want to go for, let's say, a gradient. And then we're gonna go here into the list and take, let's say the one we already have. So in that case we can also now a design, or let's say do create the actual stroke paint color. So we literally just pick it here from the very top. And then the final step is just put in any kind of a round shape, just blank for the pupil. And we can make it look to the left, to the right, up or down. We can even cut that. We could also make it look this way. We can make it look this way. We can make it look to the left or again to the bride. And depending on how big or how small those pupils are going to become, the more different they are going to look. So we need to define and decide which size we may want over here. So if we're going to say, okay, we create two times the same. I literally, then we can pass in all the necessary highlights and stuff based on that. So as an example, we need to create some highlights for that being some white colors over here. I'll duplicate this once again and see if that is too huge. Maybe we need to go and make this one a bit smaller. And so we can, for this purpose, maybe also make a second one, make this one a bit smaller here as well. So it's not like too high in intensity. So once again, if that does really not look as you want or how this might look in total, we can always go and make our own changes to whatever we need. A first off, I wanna go forward pretty quick and see where the bottom of the mat eyes are. And so I may need to go for the board one. Like a complete shape over here. Maybe just bring it down once a bit. So it's literally fitting the actual domain or the base design over here. And like literally the positions. So when the light is coming from the right, then of course we're going to have some highlights over there. We can also create another highlight shading over there, for example. So we literally just paint anything. If we want to just paint anything in, we, for example, make it a bit rounder shear and then maybe like that. And we're gonna do literally the same thing. We just create some kind of highlighting in this case. Maybe get out of that a bit so it's not too, too highlighted actually. And if we need to, we can double-click and create multiple shapes here. Once again, put some more details into these shapes if we want to. If you don't want to see the highlight in here, but you want to put it anywhere else, will feel free to do so. Maybe I'm going to have to pull around a bit here. Maybe that does not fit one a percentage design of us sounds. Maybe that, that is a position where not much light is going to pop in. Once again, we just need to eyeball that. We could even go and do this glossy area from the bottom to the top. So it might look a bit more rounds at this point. Instead of using those pieces over here, I just get rid of them and try it out. So I just make up. Complete rotation over there, maybe like this. Now I just need to fix or actually fit the actual content over. Maybe reduce some things here and maybe make it so that it is anyhow, let's say useful. Going to bring this one a bit down so it's not like too shady. At the actual corners over there. We look from the very far away and see if that's going to be something nice or something we can work with. We can also go and get some more shading into the pupil, or maybe here on the outside. Again, this is something we can decide more or less later on as well if we want or we can also put some extra shades like, let's say darkish shadow highlights, where you literally don't want to touch, but we can implement them. So for example, what we can do is since we don't have any AI or something left over here. Or we could do is we could maybe introduce some extra shading or some extra shadow over there. I got to go into maybe some length one piece over here, maybe add just a simple, and once again, just a simple shadow for this area over here. So I'm going to make this one black and go to the actual fill and reduce alpha to maybe 50, 50% is not enough. Then of course I can go even further down. Or if it is maybe too much, something like that, maybe so about 20 per cent. So each of them eyes on, each of them highlights are just automatically as well as like automatically tinted, depending on well, however they are looking literally. So we can go further around, see what might fit over here. Maybe we could even go further and use some of the feather shapes again inside some other shapes. So once again, there are bunch of possibilities for us to take care of and get into consideration. Again, this is probably going to be, this piece here is going to be part of the pupil later on. So maybe I'm going to put some extra shading here just because I think something is missing there and I'm not quite sure what it is, but nothing dark. I probably want to go for, again the actual white. And I'm gonna give it some extra shading. But I want to go for inside this list and we'll just use a white shade like this one. And maybe this is not not as it should be. Maybe I just need something small. I just don't know something is it feels like something is missing over there. I just don't know where. And so we could even go and put this inside the pupil and see how that looks. And maybe that is something we can make use of. And if not, well then that's okay. Because you can always go into that and change to design and change everything else over here. But it looks like that this one is not needed here at this point. It's probably somewhere else. Like given me I'll give the eye something specific. Maybe this, this part here might be a bit too huge, could also be some, maybe there's something darkish missing in this point or in this area. So I tried to introduce something. Make this one dark and maybe put also here slight gradient until this area. And see if that makes any difference or any kind of a sentence. Can just play around with this and see if that makes any sense to us and how it looks. And if it doesn't make sense at all, we can always get rid of it. Of course. As you can see, it's a bunch of things we need to take off. Just take a look. Is it useful or not useful? Can, is it helping us in general and so on and so forth. So now what I can do is I can take all of them and duplicate and bring them to the right barred. Well, we need to change some things here as well. So what I want to change is first of all, I want to flip this one over. So I just make a horizontal flip. And I want to have this one maybe here on the inside. So I flipped this as well and bring this here are the other eye area is going to be. So we have literally is the boast, the dark areas literary over there. And maybe that's okay. Maybe it's looking good. I'm totally up to us and up to you basically. Just want to see what I did here. Looks good. Maybe are going to be able to do some highlights or some extra, let's say, fluffy design. And to that just for that particular purpose, we can maybe say, we're going to put some, something like this and here. But we need to get reduced the actual smoothing factor, otherwise it doesn't work. So I try again and just paint some things here and they're going to close that and see if that maybe gives us a bit more. Then the T in our, basically in all design. Maybe I'm going to introduce some here as well. So something like this. So now I combine them. So I just take this one here on these two and just a pass union. Now we just see if they look noise or not. Now what we can do is we can get rid of this one. Take this Control D to duplicate, flip over, and just bring this over to the other side until we find the point where it has to match, why it doesn't match completely. And so we have something special, something extra, just with that little extras here and there to make our design a bit more beautiful, maybe in the end. So we're happy with that. We literally can set up all our eyes folder once again, which means we're going to have a pupil folder just for the board area. So I'm going to put a new insight as a supplier and I named this one pupil. So these are the things which may or may not change later on. Inside pupil. We just put these shadows, the actual pupils, as well as all the highlights. So I select on the highlights, all the pupils on the small things like so, and hit Control x once again, go to the pupil one folder. I forgot this one, but I'm going to grab it in a moment. I'm going to paste it in place. And I'm going to take this one, Control X pupil and paste in place here again. So I now need to go with that one down. So you're gonna go here so, or maybe too. So I see my highlight once again, this can sometimes happen. But now we have an extra board scenario over here. And now we just literally only need to fill all the eye colors for the board ones. And we can later on think about which one we want to make use of and put together for a legendary as an example. 25. #25 Bored Eyes Colors: Welcome back to the course. In this part we're going to go and finalize the eye is literally for the actual board thing. First, things first, we need to add multiple layers over here for all the colors we provide. So we got yellow ones and literally I just have the same thing. I just create the same ones over here based on the actual already existing ones. So currently it's renaming all of these with a one because we already have some yellow one over a year, but you can still always go into and rename them afterwards. Well, we can also now do is we can already put our eyes into it. So just a basic eyes. I just block the pupils and all the shadows around over here because we literally don't need them. But we can take all these eyes out over here. Hit shift once again to multiplys select I, hit Control x, take the yellow one and paste some place. Where we now can do is we can literally just duplicate it and rename those layers. So we're going to go here, duplicate, rename that to be red. And now we can this for all the ones we are, We just need, right? So we can duplicate this once again. We can always take a look and what we just had here. We had a baby blue. We can go top to bottom. We can duplicate again. And we always need to go into here and see what else colors we got. We just got a pure blue. So maybe I'm going to rename this one here to be just blue. Now we got the green ones. So once again, I'll go and select any of them and duplicate. Name it green. That was a wrong one, but that's fine. And just delete the way the name of the copy here. Next one is we got to purple. So again, just duplicate the layer and name it purple. Just click two times and you should be able to rename it. Now, duplicate once again. And name this one. Well, which color? Gray. Once again, double-click, rename it. We duplicate this. Once again, double-click this one to be, to make a dark, basically the blank one bar. We just named them die. So we got dark, purple, green, blue, red by a baby blue and yellow. So basically the same amount as we do have with the other ones. Now we go to the step-by-step on select the correct ones, like for the current gradients over here. So basically what we should be able to just select them both and say, okay, this is the dark ones. So we're going to take whatever is the diag one. Currently. We don't have this one for the outside, but let's quickly go in through and go and select them all through to whatever they should be. So we go with the frames afterwards. So I just highlight them. Select the purple one, which hopefully is going to be always the correct layer over here. So like the purple. Now go into the next one, D highlighted say here we want to take the blue ones next, going top to bottom. So it's easier than we can go and highlight this one. Select the next eyes should be the green ones. So we just pick on. And now we got the baby blue ones. We just need to select first. This one is the baby blue one. Now, just decent liked or deactivate. Now we go for the red ones. They look pretty nice. And if one of them highlights here is a bit too much. So we can always go into the pupil folder and just update it or get rid of something here and there. So we can optimize that on the last one should stay as they are. Now for the borders over here. Like for those two, we literally want to go for the stroke paint. We can tell currently we got this color, so we try to pick the upper color over here, which is hopefully the darkest. And so we are updating just those frames of the corresponding color. We want to always check if that is only happening for those, which looks good so far. So now we're going to I'm blocked them and lock them over here. And I'll select the next one here. We're gonna go to stroke pains. Take the eyedropper and pick the biggest color or the darkest color in the very top of the gradient. Now we can lock it and take the next ones, which are the green ones here. Just go there. Go to stroke a stroke point or paint, and just use the drop-off. Looks good. And I'll take the next one, the blue ones. So select them both, make sure that you lock the other ones so you don't by mistake, I'm de-select them all, select the wrong ones. Take the darkest color over here. Lockouts. Take the purple ones. Little ones. Don't lock it before you haven't changed anything. Select them both. Use the eyedropper. Pick the darkest color in the top. Lockett's. Do the next one for gray. Use the eyedropper tool again and pick it. And the last one is going to be the dark ones. So basically the almost black one in which we can barely see something. So maybe we're going to put some, something special later. Pick up a color over there. Looks nice still. So what we can use, maybe it's also something like the skull shape or any others, or any something in, instead of this pupils which are going to be like hearts or bones or whatever, or any other shapes on the tripod hearts probably are going to be some of them more interesting ones later on. So now this one is going to look pretty strange. That's looking basically like they're wearing glasses. So maybe I'm going to go into the pupils and work on the shine a bit, probably go a bit down with the opacity. So it's not like too dense, but not a lot, not invisible, let's say. Actually that was a bad decision to make it over to the complete layer. So I just go here inside that on the use this selection and reduce the alpha only for that shine here in the bottom. So don't go for the complete opacity because otherwise the other shines over here might not work correctly. If you want to for specific reasons, you can also use another pupil color. So don't confuse yourself and don't get, you know, just try out, just see what works and what's looking nice and whatnot. Okay, So we're done with the complete board IS series over here. So we can literally lock them completely or we can now enable and disable them. Now we have the mad ones we want to do literally the same thing. So we just want to make sure that they are having all the color schemes here as well, as well as all the highlighting and all the other content being picked up and completely set it up as they should be. So in that case, we're going to have to do the same thing literally as we did with the board ones. So this is what we're going to do in the next video. 26. #26 Mad Eye Colors: Welcome back to the course. In this part, we want to go and update the actual mad eyes over here. So we are in the mat area. What we wanna do first is we want to add a pupil layer as we already did with the other ones, so we just name it pupil. We want to make sure that it is part of as a supplier of the matte layer. So the next thing is we want to take all the mat eyes here. And first of all, we want to, how should I say, ungroup them first, so we get everything necessary separated from each other. So in that case, what we wanna do is we want to select all the highlights, the pupil, as well as this area over here. Because that is going to be all above the other quantum, as well as this area are going to hit Control x once again, cut it out. And now I take pupil and say Edit, Paste and Place as we just did beforehand. Now I lock it because we don't need it anymore. And inside the matte layer itself, we just have the rest of it, basically these two things. Now what we wanna do is we want to make them to be part of an extra layer on, so we can manipulate them accordingly if necessary and so on. So I'm going to add a new layer over here, and then this one, yellow because well, that is the yellow color over there. I want to make sure once again that this is part of the actual mad layer, as we can tell right now. Now I take these two control X and go to the yellow and make sure that I paste in place, make sure that it's not locked or anything and visible, at least. Now, we can do the same thing. We just copy and paste this multiple times until we have all the colors, um, or the colors cells literally set up for all the mat eyes. So we just hit Control D. Well, it doesn't work for layers, so we just go here and rename our layers. I duplicate this now multiple times. You're going to have a baby blue one here. We're going to do duplicate this again. It's literally only a blue. So just can duplicate this again. There's going to be green, maybe duplicate again. So we have pulpal, duplicate this again to have gray and so on. And the last one probably, I hope I got them all should be the dark one. So the dog scenario. So we have 12345678. I believe that is the same number here, 12345678. There we go. So we have board already done, we have open already done, and now we are working on the math. And the next one is going to be the skeptic one. Maybe we need to do some changes here and there as well. The final one is we want to make sure that these are going to get their correct gradients over here being set it up based on our settings we have done before. So we just go here, go to the fill and select the ones we want to see in this scenario. As we can tell them a bunch of issues over here. Because probably the frame is going to blend strangely. Maybe it's a good thing, maybe it's a bad thing. It looks like glasses again do is through that issue. And so if we go to the stroke and try to pick the stroke already, well in this case it's not visible because, well this is dark or black and this one's blank as well. Maybe we're going to think about making these two eyelashes or whatever they are called in here, or eyebrows and maybe make them the same color as the borders. So we don't have the issue to recreate content over there. But again, this is something we can take a look into or you can decide on your own. Of course, I'm going to select these two. Go here, fill and pick the gray one. And now I go to stroke point or paint and just pick the darkest color over here. As you can tell, that looks a bit strange, but probably it's because of the actual shadow. Maybe it has nothing to do with anything else. It's probably only the shadow. I'm not quite sure. But we can update the eyebrows a bit so we don't have to touch the complete AI or something like that. So we don't need to list them on. So maybe we bring just down some other things later on. I'm going to block it, hide it, and select the purple 112. Go here, fill and select purple. Go to stroke pains, and pick the darkest color. Currently that doesn't look really purplish, but seems to be ride. I believe this one is purple. So maybe, maybe we should go and use the correct fills over here. So I got to pick, pick the dark as possible color here pretty quick again. So unlock it, hide it. Now we aren't going for green. Go here, go to the fill gradient, pick green. And here we just eyedrop the actual probability, the actual darkest green color over here. And now we go to the next one and select them all and hide, just lock and hide over there. Now we're gonna go for blue fill. And now we take the blue one, which is this one literally stroke paint on. We're going to pick the darkest blue, maybe somewhere here. It looks okay. Lock it and hide it, and select the next 21. Hold shift once again to multiple select, go to Fill first, take baby blue. Go to Stroke. Take the eyedropper, and just take it. Locket, decent length. And the last ones are going to be the red ones. So we go to the fill, pick rad, go to the stroke paint, take the draw bar, and select the actual color. Now, we can lock these two as well, since yellow is going to stay the same as it has been before, the final touches would be just on the pupil, as I said before, I just unlock it and see what we can do to this. So because we got this weird issues with the color tinting flowing over, I would go with some rather present colors so we can really see what's happening. So we have some highlight areas over there. We have some flow overs over here which can come from, I don't know, we're going to take a look into this in a moment. So it could be that there's something happening at directly over here. But maybe it has nothing to do with this area, but it seems that it's just a bit too huge. And here we just have the lower parts it to be too small. So what we can do is we just take the eyebrows or whatever we can call them, hold down Control and just drag them down, slide a bit. And I got to go and get rid of the actual snap. So I don't have any issues with the snapping over there. And now we need to take the pupils and just bring them slightly down so they're not going over a certain spot. Now, what we can also do is we can try to correct this shadow area over there, which is like this over leading content there, just to make it look a way better. So this one here is fine as is. So I'm gonna take the other one side, just see if I can anyhow fix this dark area here as well. So we don't have like this, this double edge over there. Looks better. If it still doesn't look good. I'm just, you know, go and continue work on that. See if you can manage this one to be beautiful. I'm Reza happy with the results so far, so we don't have any other highlights of the year, even if we could maybe place another one, Let's say over there, something alike. I maybe a trapezium or something like that. Like a let me show you. Maybe something which is going to go and maybe fulfills some kind of a form here. Of course also in white. Close that. And you know, just with some eyedropper over there or whether wizard gradient was a white gradient coming from the outside to the inside. Once again, this is something we just always have to test and see if that makes any, how any difference, any sense. And does it look better? When we introduce more, clonus, more shine, more, more stuff. Don't forget to Control D to duplicate this over to the other side and see if that makes any sense to introduce that here as well. Like I rotated a bit here and there and see if it fits. The design. Does look better well then feel free to keep it. If it's not, well, then get rid of it. So we can also go and check out if we really need those two to be ASX panda are so huge over here. But I believe that is not so bad at all. Now, since I did this pupil change every other color like the dark one, like the gray one, like, you know, even the red ones, if it is visible, they're all sharing the same effects. So we only do the work once. And so in the future everything else is going to take a look into that. So now we got even more eyes, like we got now Aid, Board aid, mad eyes, open eyes with different colors. So basically they're all doing the same thing. And the last one we want to maybe take a look into are these skeptical highs, which is like one is opened and one as close to or rather closed. Maybe we aren't gonna go and switch them like the big one is maybe on the left side and the other one is on the right side. But that is something I need to test here and there as well. Just by selecting them and say, Hey, I want to. Before we do so, by the way, we should group it and see if it makes more sense if the skeptical look is going to be literally the opposite, does it matter? Well, probably not. Maybe it does. As a design decision, we can decide on our own. Don't forget to save. And we'll continue working on the eyes and the next video. 27. #27 Sceptic Eye Colors: Welcome back to the course and this part, we're going to update the skeptic guys over here. So if we are happy or if you are happy with the look, well, then we just literally do the same thing as we did with all the other ones. So what we want to, first off, create a new layer for the pupil as we just did with the other ones. You can rename that. You want to make sure that it is part of skeptic inside this eyes, like here. Now we want to take out all the actual single pieces over here from this actual pupils folder or pupils highlights and stuff. Hit Control x, see if we got everything. Navigate to pupil. Added, paste and place, and don't forget to lock it. So you don't touch anything weird. Next one is, we're going to add a new layer. I'm going to name this one again yellow. And of course we want to make part of a skeptic over here. Sometimes it's just collapse. This over here is just reopen the collapse content. I'm going to highlight the R actually, I'm going to go for and make, well, I need these two just to copy them. So hit Shift again, hit Control X, cut them out, go to yellow, added on paste in place. So they're going to be at the correct order and current position. Now for scamper. And we can always, once again go and play around with this. Maybe it's good as it is. Maybe it's not. We don't really, we don't always know. So once again, you can always get into this later on and redesign it if necessary. Now what I do is I just duplicate this current layer, yellow too, and just rename it to be red. So basically we do the same thing. We just update the gradient as well as the outlines. Over here. First off, we just go and duplicate the content, so we are good to go. He got a baby blue once again, the order basically, it doesn't matter. Just remember that you have to do all of them. This is just a blue. Now we need a green one. So I just rename it to double-click and name it green. And we need to duplicate this once again, we have a purple one. How it got it? Another gray one. So just rename it to be gray. And the last one should be dark. So just dark. So we got 12345678. Just make sure you always have the correct amount over here and I just get rid of the number. So it's not in the way. Now. We can just go top to bottom. Once again, select the pupils, the actual titles, select the colors, are the pupils should be locked, can be we can make it visible. You don't have to. And basically that's it. There's one thing we want to fix into is basically this area over here. I'm like, so we don't have this weird shine through later on as we do have the other ones like in the board ones are now at the math ones actually. So we just updated accordingly. We try at least our best to make it so. So we go once again here to HSL, go pick the fill, select the correct colors on. As you can see, this is what I mean. We just need to update this accordingly. Now I'm going to pick the darkest color once again. We just read them much and the highest orientation, we don't see much of this shadow, but that's fine. There's no issue was that maybe we need to reduce this shine light. You don't want to bid. We go lock and hide the folder, select the gray one if needed. Go to fill. And now we select the gray gradient over here, which is this one. Go to Fill and Stroke eyedropper. Go here, take the darkest at the very top and you should be good to go. Lock it, make it invisible. Select the pupil wore a purple one. Go here, fill, Select purple, stroke paint. Take the eyedropper and pick the dark purple color. Locket, hide it, select the green one, and so on. So as you can tell, this is a bit, well, it's not really about design over here. We designed on the fly, but this is what we need to do because we want to create a huge collection of hundreds or thousands of LFTs. And that's why we need to do this work. If you find out an easier way, well go an easier way. But in here we just need to set things up so that we are able to reuse them or to use them in general, light on for all the n of t is going to go here. And take the dark blue 1 first, the Marine One. I believe I named this marine first and I I don't know. It doesn't matter. Then we go and use blue or baby blue in that case. Just so, you know, select the pieces we want to make baby blue in. And we need to do the same thing also for the stroke. Paint. Take the darkest color, of course, get back locket, hide it. And the last one is going to be, we can look yellow already. The last one should be the actual rent over there. So we just pick it and we need to do the same for the stroke. So pretty quickly take the eyedropper, take the darkest color, and we should be good to go lock it if you want to just select them all one after another and see if everything is correct over there. Of course, make sure that also the yellow one hasn't changed at all. So it looks good so far. So we can all make everything on and off and so on to and when, however we placed in life. So what we've now got is in total four different settings. Let's say we don't have any rarity at the moment. We might go and decide later on which one is going to be a more rare one or not. Or maybe what is going to be inside the eyes for being legendary? Oh, maybe there's a specific colors adding on to this scenarios. So for example, I would maybe go, and I'm pretty much using one of these pairs being a legendary, or maybe each of them gets a legendary pair. Where for example, one i, as I said before, is one color and another eye is going to be another color. And the other one's probably are just normal common ones. So they're not really rare pears or something, but we need a bunch of them or some, let's say rarity in total. And don't forget to lock everything. And so save your content over here, Control S for quick save and we're good to go. 28. #28 New Beak: Welcome back to the course. In this part, I want to tackle the beak, which means this one here might be okay. Maybe yours is going to look better than mine, but I believe the actual workflow or the axial load line is going to be a bit more in wards. And so this beak to the right as maybe a bit too, too much to the right. So what I did is I just created a new layer, no beak, Elia, and I just hide the other beak layer over here so it's not getting in the way. So what do I mean by that? Let's pretty quickly analyze, as we can tell, these are the two nostrils areas over here. I could get rid of the line, but for the moment it doesn't matter. But you can see here it's going to be a rather slim area, but then it's broadening outside. And of course there are feathers around that. Sometimes we are unable to see what's going to be behind the feathers and it's hard to get any information about it. But then here we can see some kind of, let's say, diamond shape or something like, which is like a triangle here and a triangle there. So maybe we can make use of this information to make a way better beak. Also, we got a reza upcoming point in the center and then we have a little break down, down below like we have already in the graphic. But also you can see it's going to go outside and then it's just giving us an extra shape over there. So this is what I want to introduce and tried to make, as, you know, kneadable or actually understandable as possible. So also I can define where I want to start with the beak. So usually it starts somewhere in the bottom half of the actual eyes. So maybe try that out. I'm going to just put a, just a test line over here and see if that could be the direction of the actual beak. So the next thing is, we know that, well we got some inwards around them. We got the actual like this fill area over here and it could be anyhow, it can be anything. So I'm probably going to try and find any kind of, let say, good area because there's also the bottom part of the beak which we may or may not see at this point. So also we got the nostrils, nostril area, which is literally going over the beak maybe up until this point. Also we're going to have the other side. Like when we go from this side over here, I tried to fix a further point and here, and this is just a slight outwards going over here, over here, I guess. And then maybe from here we're gonna go to a certain point, maybe outwards. And then we're going to try to find, let's say, a good position for that here. And maybe this side is going to be literally kind of the same. I'm not quite sure. So we just test things out and see how it goes and how it looks, of course, in the end. So maybe that's now looking like a shield and I don't really like this outward shape over this side undo just like the steps again. But what I do like is the actual area up until this point. So probably from here, from this point, we are just a be able to go directly up to this point. And we may or may not be able to do this to this point as well. So this one here, the central line is now going to be a highlighted blue area. And if we want, we can also put some, Let's say something below it. Let me try that out. Which would be literally the beak mouth area, which is going to be like maybe up until this point and then fits to the other area over there. Probably we don't see this under here. So this is something we just need to take a look into and maybe reduce the input, but maybe we need something like a shadow area and so on. And also we can pass over a short pass under literally a shadow over there as well. So that is going to be my basic shape. I might wanna go and break these lines across or just damage them or just get rid of them. I'm gonna get rid of the bottom piece here because I think this is going to be nice main shape I can work out from now on. I'm going to enable my snap now. And now I just snapped to the corresponding and already existing points. Go and make a complete closed line at the very first place. So again, you go completely around over the complete shapes, just right-click and enter lines every time you need a sharp corner or sharp edge. I'm trying to fit a good one here. That looks good. And I can also give it some tinned right now or instantly. So what we don't see in here is basically this center piece on the center line. So if I go and reduce the opacity of this one, well, we just did with the complete structure below it as well. So we need to go not two layers, but to color and maybe reduce the fill of this one so we can see where the actual important line is going to be. So we can now place a highlight and directly above it. So we can, for example, just directly put it on. So we just painted by hand. And see how it goes and how does it look. We don't need the outline, but maybe we need a white. We want this one to be fully filled. Absolutely. And so we just need to make sure that we are actually able to do that. So I go again, go to fill and increase alpha fully over there. And as we can tell, there are some issues over here was this forms and shapes because well, there are some off going ones and there are a bunch of ones, like a bunch of dots we just don't need. We just want to have some kind of a roundish shape over there. Maybe I need 1 here so I can get rid of these ones. And these ones here in the center at least for the moment. So once again, don't forget the last point we got, the more control we have over the complete shapes. This is literally every time we work on something, I'm gonna make this one here, the bottom may be a bit slimmer. Maybe I'm going to bring this one-point. There's extra point here, bit more up. So I can shape this one into this direction and maybe also use this point to shape it even further and bring this directly on the line. Same here. Am I gonna get rid of this point? But maybe hold the Shift key, but now the line is not closed anymore it seems. So I will go and take these two points because they are separated from each other and just join them together, make them roundish and go in and reattach them as needed. Maybe I'm going to split it up and so I have a bit more control over the actual size. Okay, so now I know where the highlight is that can also reduce that and make a secondary highlight at the top or at the bottom depending on where I want more light. Let's say to happen, for example, I can just put a little oval or dots somewhere as being an extra highlight, rotate a bit so it is literally falling or actually following the actual line over there. So we're gonna get a bit more, let's say design into play. Also, I can do the same thing for the bottom sign because it might become a bit darker to the bottom, or we just say, okay, no problem, we just going to keep it as is. And I'll take it as is. And so we don't really need to do much more to that. Things are just gonna go and operate the handles just a bit so I can, I have more control. If I want to, I'm going to go and put some kind of a shadow area in here, maybe also they're not quite sure depending on where we want the light to come from. So in general, I would just say maybe something from here following the shape. I don't have to fulfill the complete one. I just want to have some contrast. Going to make this one blank. Get rid of the outline. Doesn't look too shabby, I guess so maybe I'm going to make it so that the forms are a bit more following the actual outlines like here as well. Maybe a bit more flat. And so we got some interesting shapes later on. This is going to get a 50 per cent anyways. And this one here is going to get its full color in a second, like so. We already have a completely and totally indifferent beak right now. And I can even fill in more content. I wanna get rid of the outline as well, so I don't see this anymore and does the other outlined below that? So for the moment I just don't have any connection to that, but I want to put some more content like here. For example, like an extra triangle where it is just going to be black outline and maybe a bit just tinted. Um, so we can just create an extra, let's say, soft shape going on and follow the beak area. Just want to see that I drank or content into the correct spots like that. And this one is also getting something like if 50% shade. So it is following the color. So if we have light on, for example, different to beak colors, which is absolutely possible without any issues, we can do so. And we can also fill in gradient colors like we do in the eyes. So we're not just, you know, I'm connected, are hooked to, let say, plain colors over there. Now I want to add some simple nostrils just to get some, at least into the play and see how it looks right now. So the nostrils, as we can see from our images over here, like this one here, it's just literally just some kind of an X-shaped are looking a bit outwards. So we can literally do the same thing. We just make them a bit egg-shaped. Just put them there, Control D to duplicate and bring the other one to the other side. Of course, this is not going to work as it should, so we need to rotate it a bit at least and maybe also bring this one down quite a bit so it is matching the actual view. We want to, we can, if we want to, we can also put some extra highlights on top of that, or even the opposite, like some kind of a moon shape as an example, let's try that out. If it works, well, it is. If it doesn't well, then we don't care, right? So I'm gonna make no outlines over here, make it white in the film and reduce alpha to 50%. So once again, just a moon shape to highlight maybe the nostrils Control D to duplicate. I flip that over horizontally, bring this over to the other side. Maybe shrink down hold control. So you'll have a better control over size and try to bring it at a point. If that works, it does, and if it doesn't, well, that doesn't, it's a bit too small. So I might need to go and bring this one up a bit further. Or instead of a scaling it, maybe I just overextend the size here first and see if that makes anyhow at different because, well, when we have like a size of this image, if a dislike fitting now on the screen we barely see that. We just see huge areas. As you can tell. We may or may not need those. I guess I'm gonna get rid of them. So but you have the possibility to implement these. We're going to see the nostrils themselves because they are red or black. If we want to, we can also say, we want to try to increase them maybe and see if we can make them visible bit better. Something like that. Again, something we don't really need, but this is something we can go and do better design. In the end, I tried to connect or actually select the bottom pieces over here so we can literally get rid of them or we don't need them anymore, like the bottom outlines. And then I need to try and figure out the position back. So basically my, my beak was going into this auto, into this direction. So strike Following this area. So once again, if I want to, I can put in some other, maybe also some other highlight on this area or maybe I going to reduce this one here to 50%. So it's more like it actually should. Well, let's hope. We can also put some shadows down below if we want or just design it to our needs as we want and place. And like, I believe, I want to fill this one from a from a lighter area on the top to, let's say, darker area to the bottom. So first off, I go with alpha here and maybe reduce the power of the color to the bottom. Maybe something like that. Again, if we're going to go highlight things, it might or May or may not look good or not. Maybe I'm going to make it a bit more bright and the top over here, so this point here, select it and maybe, maybe give it a bit more brightness. Somehow it, somehow, this gradient is well not as easy to handle as it seems. Maybe this point over here is a bit too dark. Well, we just need to fit in an extra point over here, which is going to give us maybe the possibility to highlight things a bit further, Bart? Well, not really. So we just try to try our best, literally to fill in the content. And so once again, we can also try to duplicate this part over here, bring this over to the other side. We need to scale this. Otherwise it does not fit the actual flow. And usually it should be the opposite area or the opposite direction. So it should start here, go inwards from here, and then land over to the other side. So we got this, this shape literally a bit, support it, I would say. And maybe we bring this a bit outside as well. So we don't have too much of a distortion and too much of weird shapes running over there. Maybe like that doesn't look once again good. Then we just get rid of that. So now we got a new beak and once again, we can color this one. We can go even further into the actual design for that. What I also want to predict quick enter here or unable to add is some kind of a big shadow. So simply just a shape which is going to be like under the beak. I just close it here. Kind of make a blank no outline and reduce Alpha-2 50 per cent. Of course I need to make sure that I reduce this like so it is below everything inside that. So we got a nice looking shadow over there. If the, if the power of that beaker is a bit too much of the shadow, we might want to go to 30% or something, so it's not too harsh over there. So maybe I don't like this area over here to be this roundish. Maybe I'm going to make it a bit more like that. And we could also go and see if that makes more sense. If a dislike in that area or in this direction. So but for the moment I just copy on take all of them, make sure they are all in the current folder which they are. And so we have literally a flat beak right now. I don't like this point. How I don't know why. I just want to make it so that it is maybe a bit more centered, maybe a bit more open to the left. I don't know why. It just feels better this way. And once again, you can add even more highlights. You can also go and use gradient shapes or gradient fields and to the opposite directions. For example, for these areas, if you want to, you can just go and do some indents, maybe like that. And the same one could also be, or you could also create this one as being from inwards or outwards like that. So it might, might have a different touch, different, a different view, Let's say. Going to take a look into this one pretty quick once again. So just be precise as you want. Oh, that doesn't look too shabby. If I'm happy with the result, I can once again make this a new beaker. I can lock the selection. And now we've got a secondary week. And so we can now decide which one we like more. Maybe I want to go for an increased size of that new beak. So I select everything pretty quick and hold Control and Shift and just resize it. Not too much. But let's say rather present. We want to see the beak, right? So we want to see the nostril, we want to see the content. Or maybe we get fined name for the beak itself. And I'm not quite sure about the size yet, but I believe that's not too I'm too ugly. So the resin long one for this shape, maybe this point here goes until it hits the mask. So we might try to re, shape it so that there's this big area is going to enclose or going to close up until this mosque area. So it may or may not fit into the overall design. Once again, test it out, see if it works. If it doesn't well, then screw it and create a new one. 29. #29 More Beaks: Welcome back to the course in this part, I want to create another big pretty quickly with you to gather. So basically I just take this one and make this a bit broad, like maybe more like a duck shape as an example, we can also create a, something which is like just a super short one as well. So we just take this beak and select all the pieces at least for the moment. And don't forget the outlines as well. I want to duplicate that first, so we first off go and take the new beak and duplicate this layer. We can just name this May 1 be small, big, small, big. At least for the moment. I will lock the other one and hide it. So we only have this one beak. So when we now select all of the pieces, we can just simply shrink them together and see what's going to happen. Like so as you can tell, this looks pretty good. I mean, really, I like this also was the shadow area and so on. So we now have instantly just by scaling it down as secondary small beak. So we got this one, this one. And we can of course, out of that, we can also create another one which is going to be maybe a bit broader like in general. So we have more like a cuteness factor, which we can involve here as well. So what I do is I lock this small beak and hide and unhide the new big and create a new copy of the new beak just in case duplicate the current layer. And I'm going to name this May 1 be broad and beak, which is going to be small but broad and its width. So I'm going to hide this, unblock it just in case and just want to work on the broad be not beat but beak. And so I'm going to select everything again. And what we can now do is we literally do the same thing. We just scaled live together without touching anything. But now it shifts and we can now go outside and make it broader and see if that looks any. How good. I mean, I don't know. We just test out things. Well, it's looking not too shabby. Maybe we're going to have to go and do some additional changes over there. For example, these things here are a bit to, let's say squeezed together. Going to undo things if they don't match. Just go and play around with these and see if you can find Another nice, Let's say setup, which, which may be fit a bit more into such a broad beak. And try to just select them and maybe go a bit thinner here in the center. Maybe this areas are not as good as I think, but maybe I want to add something extra. It's like if you would have the nose or something like abroad, let's say a body shape. I might go and introduce something in here. For example, I just paint over and see how that could look, something like that. And so I would do the same thing of course, to the other side. So not as not as much, but something like that here as well. Then I'll paint the second one again. Again, you need to just test it out and see if that works for you or not. I want to try to connect these fields. So I'm going to take these two and just say pass Union and see how that may look right now. That's a bit different right now of course, we might want to go and put some shadowing or some lighting into that. Two areas may be here on top, just a slight one, or maybe at the bottom. I go into stroke color and S5 at least put it to be a 50 per cent. And maybe I'm gonna put this at the bottom over there. So it has like a slight shadow area. If the shadow area, let's say is not broad enough or maybe looks well not as good. We can also try to highlight this one just to help the shape to exist over here. How do we do this? Well, we just overpaying that a bit and see if that would work. And we try to see as well just to understand or get somebody to understand what the shape is probably about, then I'll select them both. And I'm going to make them fully bright white. And maybe I don't need those two. Yeah, that's not too shabby. This one here is a bit too huge, I would say, for my opinion. So maybe I'm gonna go and reduce the size. I need to combine these, like join the selected nodes. But it has ruined a bit the actual or the overall view, which is okay. But we can always get into it and re arrange these areas. Just make sure they are following the correct flow in here as well. Does go in a bit closer if you don't find the ways this one here needs to be joined as well. It's sometimes getting a bit off to us through this and connections, but that's fine, I guess. So these two look for now. Look okay. Maybe I can go and squeeze down a bit together or something like that. But I believe this shape in general is not a bad shape. Maybe I'm going to go and reduce the nostrils a bit more or make them not like X, not too much of that, the x anymore. So they are not too much present as I would say. So maybe I'm going to bring this highlight here a bit further up. It more like, you know, we are more like in this shape over they're going to straighten this one a bit. That's good. I guess there are some issues here on the bottom, so I'm going to take a look what's happening. I believe this handle is just longer than the other, so we reduce it. And pretty good. So now we have another beak, was not much of a hassle, so literally two new peaks just with a squeezing, stretching, pulling things around and see how they actually work in general. And how does that look? We can always go zoom outside, de-select everything, see, do they actually flow of follow the actual structure? There's one thing I want to go and notify here is this actual part. We need to extend it a bit to the outside. So otherwise if it's not making any sense anymore. So now it's like sitting under, under this area, whatever this area could be about. We could also introduce some feathers. I'm above a specific peaks as an example like by taking this space over there, we could also use different or create different Mosque of haze positions over there and so on and so forth. Like having one was feathers, the other with no feathers are some as round, some as cutter sum is, I don't know, cross and so on and so forth. So we have a bunch of possibilities to put things together. I'm going to unlock this and don't forget to save your, you know, your file Control S for quick save. And now we got it like a broad peak. We got a new big coffee. Coffee, which is literally, I will just name it, may be long, beak, minutes long and slim. Like it's not as wide as the other ones. And then we got a small one. I like this one pretty much if we want to, we can also put in something or put an extra over there, maybe play around with the shadow areas and so on and so forth. So all of that now are three different peaks. And of course we have the basic of a beak, this one, which I don't really like. So I can just literally get rid of the year. And so I have which ones which are more likely following the stream of the internal, let's say internal lines, I would say. So when we can later on also go and shade even more inside the body, we don't really have to use hard outlines over here. We can also blend things and to each other and so on. But again, the decision for that, It's totally up to everybody who's going to create his own none of these. So you don't have to do anything I do here. Absolutely. As I already explained, you can make your own art. As we just spoke about. For example, we were allowed to do literally everything. You can put a moon as we can say, we can use animals, food, people mood, our pictures and MA, or even plants, or even anything else. You prefer to look alike. And I mean, this doesn't look too savvy and all. I mean, we already did quite some good shape or shading over here. We might go and do some more work on the body itself. So maybe some more extra dark areas in there. But in general, I really liked the result over here. And once again, we can check it also out with other bodies and body shapes. How do the beaks look like? We can, if we want to just test out the body's like for example, when we got the legendary one running over here and we just unlock the general, the legendary antibody itself. We can always take a look, Okay, how we would fill this actual body area here into any other color, what would it look like? I mean, how does a purple one or does a brown one, or does the red one work a blue and so on and so forth. So we have a bunch of things now we can test out and to speak just looks good. And the other ones do look Literally as well. Literally good as well. So we can say we want a baby beak, like a small beak, and we want to make a broad beak than we can show that to the people or use this inside our n of t. And so we can store all this inflammation or we just have this information right now. That's pretty, That's basically an interesting one. Without having a body maybe like a ghost, ghost our honey actually maybe, maybe I'm going to make some glass, or I was thinking about a golden one as well. Like a golden. Like golden. What did I say? A golden hours. So we're going to be able to see that here and there as well. So as we can tell, we can use a different beaks over there. I like the small beak as well as the big one. I like the broad one. And maybe we find a third one. Maybe you want to design a certain, well, maybe you don't want to use a beak at all. Maybe you want to use, I don't know, a cat mouth or anything else. You can I mean, who is holding you back to not do it right? So in the end, we can also do different phases and shapes. We can also make an old beak. Maybe we can make some extras, like over the eyes are above the eyes. And, but basically, our hour is now complete in its general pieces. The next couple of parts we now need to decide and define what extras do we want to give our owl? But beforehand we want to see how much could we produce if we would start to produce literally something with those. But yeah, the wisdom content we already have created. 30. #30 Calculating Amount: Welcome back to the course. In this part, I want to quickly recap what we have created so far and how much, let's say, possible images we would be able to create with the current collection. Already written down some numbers over here. So let's take a look. If we're going to say We have like nine out of ten backgrounds, probably you have more than I do. Well then we can calculate with ten. So I put it at ten over here. Then we got a four body shapes with possible, let's say eight colors. I don't have the colors for these ones yet, but, but, but we, we are able to create some at anytime, right? So we could say we have like eight colors later on, or ten or whatever the amount is. Once again, it's literally the same thing as we have with the eyes. And so probably there are going to be rent hours with red eyes as well, for example. Also, I'm going to put in some extra here for my possible legendary these. Or at least, well, anything which are going to be golden or something. So we're going to make them a bit more beauty and shiny and stuff like that. So there's something special over them. If that's the case, are going to add them here as well as an extra. And then we got our shapes. We got a total of four shapes, at least for the moment, and a different colors per eye shape. We can multiply that. So this is going to, each of them is going to probably be something like a 32 numbers that we got. As currently I got three shapes of a beak, no colors yet. So there's just a number of three for the moment. So depending on if I go and create other beings or other beak settings, let's say maybe some BIG was feathers and some maybe not. Well, then we're going to maybe have more later on. So what would be now, at least for the moment, what would it be? What would it be? An a number? K is if we just multiply them all together or add them together. So if we have ten backgrounds and we multiply that by possible am 32. Body shapes with different colors and stuff like that. We already have 320 different things. Of course, this is not the correct number. In the end, you're going to see a y. This is the case. Then we're going to multiply this by another 32, which is going to be the eye shapes multiplied by the colors, so times 32. And now we can already create 10,240 direct images from that. Now we got the beaks over here, so we multiply that by three. So in total, we would have already a collection of 30 thousand 720 plus four, which is going to be 30,724. So this is just, if I going to have a would have like four golden ones for golden bodies literally. And four by eight when I have like eight different colors per body shape. So what does all of that mean right now? Well, for the moment if we would go and just create all of them as they are, we're going to have like ten images or literally ten times the possibility also to have the legendary one because we want to make sure that legendary are going to be rather rare. So actually in this case, super rare. So maybe only one out, like one per cent out of 100 per cent should have the legendary background or even less. So this is what we're going to have to calculate in later on as well. So what does all that mean? Well, we don't really have the possibility. I mean, we do have the possibility to create them this way, but literally, well, we need a bit more content. We need more different things. So we can multiply up, for example, we can add glasses or hats or more background, more beaks, more feather types, maybe, maybe something special wisdom feather types, and so on and so forth. So all of these things need, we need to implement them as well. Later on, we're going to have maybe later a number of a million or maybe 600 thousand or something. So our reality is not going to be an issue, let's say. Was that knowledge right now, we can say, okay, we already have the possibility to create 30 thousand. But non really are rare this case, except probably the ones with the golden color and even them are just add to it so there are plain numbers. So in general, we don't really have a gold one with just one, that one background was the like, the night background and so on. Until to go and increase that, we just need to go forward and create even furthermore Content, furthermore things, furthermore, layers. So we can in the end put a hat over here on top, or maybe put something special like a frame around or anything. Then a bunch of scenarios we can go after and fulfill even more of the content, put in more stuff in there. We can do something like fire or fireflies, something on the head, or maybe in the background again. And probably make something more like 20 or even 30 different backgrounds. Because we can literally put in anything, right? And we can do the same thing by the way, also with body shapes. We can also say we want to have not four but ten different body shapes that we are allowed to do. So for example, put them some extra here for some wings. Maybe that's going to be another one. So all of that is going to add up later on. Our goal or your goal should be for a 10 thousand collection later on should be somewhere between 500 thousand, let's say, all multiplied together possibilities to up, up until at least a million. So we have enough food for later on for the generation process to create the 10 thousand. If you want to, let's say only create 1 thousand and don't really want to go for, to merge into gold or even less of that. Feel free to do so. This is also possible you can instantly create, let's say, a collection of 100, whereas maybe something extra like the golden ones. And that's no problem at all. But I want to focus on a huge number because we want to see what it really takes, what we really need to implement, and what we really need to do to reach that one numbers, to reach that 1 over here. 31. #31 About Traits: Welcome back to the course and this part, I want to talk about traits. So in the last video, I just talked about what can we put on top or let's say, integrate into our, let's say collection to be different. So each of them owls or each of them LFTs are going to be, let's say, different in this themselves. For example, if we're gonna generate them, we're going to have a purple background, a green hour, but then maybe the gods, well, nothing special. Eyes, especially beak, which is okay. But then we want to maybe put something else on top, maybe something like a hat. So as you can see, this one here got a hat as well. And there are a bunch of possibilities. What we can put onto these different hands can be on one or the other, let say owl, to be polite and can be used as a trait. We can also make it so that they are going to be colored differences and so on. But it probably is easier to just do one at a time. So a trait can be ahead. We can also make a trade like glasses. We can put something like elements. I'm going to name it elements because it could be something like a fire or maybe some ice or, you know, frozen, some overlays, something like that. So let's say we can have some elements. Several teach collections are going to use them. Most of them have fire or something like that. And we can extend this to our own needs and stuff. I had, by the way, can also be a bandana or anything, right? So bandana could be something here. I'm going to put this a bit to the side so we're going to read more what's going on. So again, these elements can be fired when done, we can have glasses, specific ones that we can have something in general, being in the face. For example, we could put it in a beard if we want. Or we can have something like a pirate. Pirate. I'm not quite sure what it is. Like this clap, right? I just never club. I don't know what it is about or what is this named. So one eye is literally covered by that area, by that thing. So then we can have a bunch of them. N of t is out there. Do god different things in the mouth or in the beak. So maybe we can say something is inside the big, maybe a mouse. We can also put, I don't know, cigarette or ice cream or anything like that. We can put everything literally inside the beak. So what you wanna do is we want to collect all this information and store that, put that together and see if it would fit. Okay, so I'm gonna name it something like beep fill, maybe something around the beak or inside the beak. Whatever it could be, it doesn't matter actually. So next one is we can put them close or put on top close. So for example, we can pull on something beautiful and maybe just, oh, that's what I'm also can put in maybe some necklace. If you want to, you can put different necklaces. Maybe a green one, blue one, purple one, golden one, silver one. And done something in the middle. Maybe some specific ones with, let's say a Bitcoin logo type or whatever. I like, a theorem, a marker on top of it and so on and so forth. There are bands of possibilities over here as well. We later on just need to decide and define which one we want to use. So that's why we're gonna go and list all of that. Usually make your own list. What do you want for your, um, to be some kind of a trade over here going to make this one, I don't know, greenish. So we know this is about traits, right? So again, we can put in or put on top some Hat or bandana. Maybe the bandana is not a good one button ahead or actually some, at least anything on that. We can also put is a maybe some, let's say wings, right? So because we got a bird, I got some issue here with the line break. We got a bird. So probably we're gonna put, well, we could make something small, small angel wings or anything, or maybe the owl wings going to be as an extra over here on the side. There are bunch of possibilities for that. We just need to take care of. The wings are going to be, let's say, on its own, which is meaning it doesn't take care or it doesn't care about the body color itself has to be something on its own, maybe. Some bat wing, maybe some angel wing, maybe anything like that, or maybe totally different stuff and maybe a dragon wing like super opaque one here like a gargoyles. And also all of these inflammations, all of these ideas need to be catched up. We need to make sure we use that as, you know, or at least some of them. Again, we can put a beard, we can put some extra feathers. I just put it in because I'm not quite sure how I could make them or use them. It could be feathers on the background which I already have planned, or probably well put one together anyways. And we can also go with tarot cards. We can go with something else which is going to be, I'm not quite sure if it is a good idea, but we could use frames like server frame, a gold frame, and so on, like for example, cards or something like that. I got to make, I just tape it down frames here. So just take out all the other collections you encounter. Check how are they structured? What traits do the gut, and implement those ideas into your list here as well. So you have something unique, you have something probably nobody else does, or more, probably nobody else has. There are some which are having guns or passwords or anything in the background here as well, like crosswords and so on. But that doesn't really fit our owl scenario over here. So we need to, we just need to decide and think about it if what you really want to input, and so on and so forth. But I believe you're going to find a way and I believe you're going to find whatever is inside this list may be helpful or not. As well as you're going to make your own list from your, let's say, discoveries inside the NFA space. So you are absolutely able to create your own ideas and to put them into place. By the way, you can also use fruits or something in the background, right? So don't miss it out. There are so many things. Oh, and even backgrounds could be, as I already spoke about, we can put some grid inside the background as well. Like for example, the grid from our workspace, like this grid over here, we can, let say, make a bit more beautiful design for the grid. But in the end, we should be able to use that as backgrounds. Maybe just a slight overlay was 20 per cent of the dark field, make it a bit broader so it's literally visible and it is not in the front but on the backside. There are so many possibilities for traits and we just need to decide on our own which one we want to use, which one we want to create. Eight. I'm going to collect some ideas right now. And in the next part we're going to start to work on one kind of trait over here, which means that is a bit of extra work of course. So we need to maybe, let's say, create like ten or five or 20 different hats as an example, or five different glasses, or even two to five different elements, things and so on and so forth. So we got to fill our actual results here to be multiplied everything by each other. Somehow, like being a million or so. And we don't want any hour or every hour to be a glass or with glasses. Maybe the glasses are going to be rather rare on top of the hats. So we don't have too much glasses, we don't have too much different whatever clause and so on and so forth. Maybe we're going to start with some neck class because these are rather quick to, probably quick to create. Maybe I'm gonna go with the feathers and the wings also. So each of them, depending on how it looks, of course, we're going to go for and produce them one by one. So we keep on learning Inkscape. We keep on learning creating the, increasing the amount of our actual NFT collection. 32. #32 New Inkscape Version: Welcome back to the course and this part I want to quickly go over the new version Inkscape, but 1.2, which I currently have downloaded over here. So you can always go and check which version you're going to have. So depending on whenever you are watching this course, you probably end up using the one-point too anyways. So what are the changes to the last version I was using is the actual navigation inside the layers are a bit better. So we can now see which elements are going to be inside those inside those layers. And so all our actual layers are also beat, been tinted. So and then we're going to have a bunch of sub categories and sub layers over here we can use, and we can now directly, for example, select one of them things we are going to work on directly pick them inside the layer system. Also, another possibility over here for gradients is going to work. For example, if we select them, eyes over here, if we can. The symbols of the locks on the eyes are not in the left now anymore, they're on the right. So if I go and unlock one of them, eyes over here, go inside the board layer and there is one color I'm currently seeing is the yellow one. So unlock this one. And when we go to the fill and change the fill and stroke, we're going to see this little graphic over here as well as those tint colors, which are going to be the parts directly here on the flags. So we can move the flags around to interchange or to change the actual gradients directly on the objects. Same for the other ones. So this is a little upgrade over here so we can directly go into this one and change the staff or the actual gradients accordingly, the gradient list is going to be inside over here, so we can see how many of them are going to be used or have been used in the past, as well as currently using them. For example, this red gradient is going to be used by eight. So the same thing literally as we had in the older version. So this is what I wanted to quickly go over there. Probably a bunch of other changes over here, like the background is a bit different. The actual handling as well as the clamps settings or the actual settings about snapping in general are going to be now listed. They still have those little icons next to them. But you can see you can now select them depending on what you need. Unlike if we want to disable snapping them, we can do so and everything gets grayed out. So instead of having an extra toolbar over here, we just can open this on pressing this little arrow and then we're good to go. So that's basically everything I wanted to show pretty quick. So a bunch of things have happened, but there might be also some new pass filters and stuff like that for free to check them out if you want to use them. And so we can go forward right now. And everything is color-coded literally. So we now know, okay, everything about red is going to be probably the eyes of beak or something like that. And I believe we can change the layout colors anyhow as well. If you want to create new ones, we have now a new sub new menu where we can just say, Okay, we're going to add them and it's automatically created most of the time as being a supplier. So we don't have to select this as an extra. The drag around still works the same way as before. So no worries about this one. 33. #33 Necklace Part 1: Welcome back to the course and this part I finally want to start working on the next place. I want to go and create a cola, which is just a so-called literally with the Bitcoin symbol inside, probably with the theorem sine as well as maybe any other of them. At least those two should be. I believe in my list over here, we have listed them are quite beforehand as we probably are. You probably remember over here it's going to be necklace. And then there are bunch of sub menus are some things. We can add two and we can make them gold, we can make them Silva, we can make them literally whatever we want. Please. Unlike if you want to just go and look into Google or somewhere else, wherever, whatever your search machine or your search engine of your liking is and see if you find some colors about the golden ones, probably some gray shades of gray scale colors about for silver. So you can later on do some quite nice effects over there. So to start with, I want to create, first of I have a necklace over here. Nice. I already tested about the color itself. So I'm going to go right-click on this, Add a new layer. And as you can see, it's created automatically as a supplier of the current, which I'm going to name maybe golden Bitcoin, a necklace. So it's going to be like inside of here. We can still arrange them like, you know, make them up and down left and right. Inside of here, we can also create multiple sub-layers if necessary. But I want to make sure that I'm literally selecting this layer to work in it. Now I'm going to go and just create a simple circle and I decide how big and how small I want this and where the position is going to be of that color. I'm also what I might want to go for as you use one of them base colors over here and just tend to get a feeling about what I'm actually, after I go to Fill and Stroke, make sure I have selected the film itself was a full color. Take the color picker as usual and just pick a color of my liking. Once again, if you want, or you can choose the RGB, RGBA colors over here, go and find any of them if you want to use gold and general or use the eye colors from the yellow paint tins of a year, totally and completely up to you. What I want is I want literally as reduce kind of a view. So I want this to extend to the left, upside, like upper-left side over there. So I'm going to make use of some kind of a filter which is going to simplify the progress for us or for me in general, and probably for you as well. The filter I'm going to use is a probably inside the extensions method of here. And what we want to go for it, we will go for generate from paths, and then we go for motion. And what we're going to see is a new pop-up popping up. And we can now define what is going to be the angle of it and what does the strings, the document units. I'm gonna make this one super small, maybe just a one to see what's going on. And if you go and select Live Preview, we're going to see something's going to happen, but it's happening in the same color. So maybe this document unit size over here is going to be a bit too big or too small. So currently we're gonna see that there's a script executed, did not return any arrow and was not expected to do anything. So I just say, okay, and I believe there's something some issue over here. I want to try this era are trying to ignore that. Fill the shadow with stroke color of selected object is that is going to be sad. We may or may not be able to do that. I cannot choose this three over here I've done on why I just tried to apply that and hope that the script is still working. I expect that this status, the so-called, not the past, we're gonna go and revert this or actually change that from object to pass. So we literally have a path object which has different nodes. So we can see when we use the added pass notes Select tool. So finally, we're gonna go and try to regenerate or generate from paths and emotion. And we're going to get this popup once again, I'm going to choose Live View right now once again and see that now returns any issues which just does not. So make sure if you're using that motion effects that this is going to happen. Well, we can also see even if slightly, there's a little pop into the backside going to happen over there, which is going to help us to create the shadow areas of four, or actually the depth of that object. So in my case, 215 is going to be the ankle. This is not the correct angle. Then we can go and repeat the process. The document length of that, the size of years to be a rather small number depending on the document resolution, since we have working in a thousand by thousand, I believe three should be okay for that and I apply the changes. What's going to happen is that this one top area over here is now going to be a new object. So, or at least multiple new paths objects we can select them work with. We can see this, that this is our original path over here. And if I would go and let's say two doesn't do any other color. We're going to see since we are using another version of a year, we're going to see that we have automatically this part here being generated into multiple little pass a fragments, which is going to be like as you can see, some invisible ones. So if I, for example, take the top part away over here, which I didn't want it to do it like that, but just take our main paths. You can see that these other ring parts here have been auto-generated by the program itself. So we would be, we would go for and select all the pieces we don't need, which are going to be literally behind that and just get rid of them. So these parents are the ones we need. This one is a one I don't need and the last one, the bottom one, I don't need this either. So in the end, I going to have like our basic pass object and this moon ring shape over here, which we can tend to easily without any issues. Now that we got this, we can now play around with gradients and make our golden metal here way more, let's say beautiful by just adding them gradients and this part here. So all of these single pieces, I want to combine them together so we can play around with multiple gradients as well. If we don't want to create or if you don't want to put them together in one group, you can also keep them separated so it's easier to handle the gradients for that different shapes. Let me show you what I mean. Let's assume we're gonna go to fill and want to make a new gradient fill. We can see that there's basically nothing but a base color for the base color, we just gave it beforehand. And so we can now create our golden gradient over here completely by using them flags. Once again, if you're using an older version, you might want to go and update or just get used to it by using the normal gradient tools as have been before. So what a gold Mexico is basically shine on the side or on the outside. So basically this here we're going to add a new flanked by double-clicking. The bottom area over here, drag around and we should be able to go and pick from our color tint list of a year, for example, a brighter color on the left. And over here we can also select increase Alpha's since we're going to use this Alpha tone in general. And I want to make maybe a darker area or a darker color on this last one over here, for example, this one. So as you can tell, it already gets a beautiful and interesting shine. What I also want us, maybe some extreme highlights somewhere in the center of it. So we get a huge bright shine, maybe wisdom that, or even with the brightest of all colors. And now we can see how this is going to be created and generated. I'm going to create another one in the center because I want the main color over here being in the center as well. So it's literally broken up accordingly. What we don't see at the moment is the actual fact of the correct direction. So what we're going to go is here on the left for the gradient tool itself. And we can now drag around the gradient according to the maximum or the shine we want to see literally on our objects. So we can lengthen this one as we want please. And like now I'm going to select the next one. Pick also this. And now we're going to take this one. We're just going to be the one we just created beforehand. And now we can do literally the same thing. We just take the ends over here and bring them according to the actual shrine we want to literally generate or create on our little object here. And just increase and decrease the lungs so we don't really go and touch the gradient itself. Once again, if you want to, you can always go and pick another color and this gradient. So maybe if that is a bit too dark over here, you can go for another one, which might be a bit better. You decide what you like. Employees are going to keep this other one a bit darker. So in general, we have now two different gold, gold gradients. You're going to pick the last piece of the year as well, since I want to put another gradient of this. Well, once again, just pull it, pick that, go here and select the gradient of my liking. I believe we're going to take the darker one. And now I choose the actual points over here. So depending once again, on how I want this to look. I can also bring this up high enough or so high that it is actually fitting my needs. The direction of the gradient, by the way, has, most of the time has to be in the same direction as the other gradients have been. This is for you lagging a bit and probably your fill or your scene could be a bit too huge or too much inside. So you might want to reduce or just hide a bunch of objects in your scene. You maybe don't need, like for example, the feathers, all the backgrounds in general just disable them and maybe you'll get a bit more. Also if you don't need to, of course, you can unhide or hide the Workbench. You get a bit more free space. And probably I want to get rid of the legendary body and maybe just use the common ones so I can navigate easiest through my scene. So that is twofold. Let's say. I also wanted to take us now this circle over here, the first one so-called this first pass. And duplicate this, hits Control D and just drag it a bit away, at least for the moment. The other one, the one which has been lowered literary or above. I want to brighten this one up so I can create some slight corner shape over there. Let's try that out. That's the one I didn't want it, so I reduce it by one and maybe a mover decide a bit. Do that if you are hitting the wrong objects. So now we can see the sunlit part of there. So I want the other one, the second one. I want to try to move it away, which is probably not possible. So that's a possibility to local selection, I believe so we can try that out, which sadly does not work. So we can try to fit it around all the actual parts of the year. As you can see, what I wanted to achieve as a little gap over here and between them objects. So what I wanna do is I want to take this one, bring this once again up like two times, and tinnitus and the color of the other one. And then I select the second one, this one below, and make this woman brighter. So first off, I take maybe this one, go into this and pick the actual color of that main object. Now I gonna go back, select the upper corner or the upper one. And now I'm going to hit or take the color picker once again and take the darker, maybe more golden niche look over here so we get a little bright, let's say highlight. Y'know, I'm color over there, this one here, we'll get another gradient as well. So we can literally try out and see which one of them gradients might fit. Maybe one of this one or the other one. And so we have this shrine in the center already. We just need to see how we want to brighten our actual coin up. If you want to go top left to bottom right or just straight up or straight down. So we select the gradient tool once again and play around with the directions over here and maybe we find one or the other good or nicely highlighted. Let's say shine over here. If you don't like too much dark on the area, you can always stretch apart or maybe you'd like that, then you can also make use of that. So this is basically just a simple, a possibility for us to do some brightness over here. In the next session, I will go and do some stamp inwards, basically using the same technique as we did before. And also do this with the letter inside. So 1 third is a path. We can go and do the same thing, but that's what we're gonna do create in the next video. 34. #34 Necklace Part 2: Welcome back to the course and this part I want to put a stamp in area and probably also create the latter. We want to see like the letter B or maybe the logo of a theorem or something like that. I'm going to just make sure I create a new circle, but I want to make sure that I'm 100% in my golden Bitcoin ledger or in my golden Bitcoin area control just to snap and increase it so that it is going to be at least that I have something over here. If I want to, I can select them both and go here and use my Align and Distribute tools. Once again, you will get them or you have them already over there as well. We can go for selection area and last nitrogen, first selected. I usually go for first selected. You can also go for the biggest and the smallest object. So if you select this 1 first, this one, then we can align to center. I just want to make sure that I select the correct objects, which is going to be a literally this first-pass area. And then this one is going to be the second one. So make sure you're using the layout system accordingly and don't want to send out this one like left to right and upside down. So these two, I select them both one after another. We can do is we can give that one a gradient light on as well, but literally using the opposite gradient of the one we have created. But what I wanted to create this now, the like, a darker area like it is going to be in, I can indent over here. The easiest possibility for that is literally doing the same thing as we did beforehand by using the x tangent method. So first off, we go to pass, say object to pass. So this is not a circle anymore, but a pass. Then we go to generate from paths and go to motion. This time I want to go and do the opposite directions. So I just wanna do a slight inward. So maybe a one should be good enough. Maybe I wanna go for a 45-degree angle or whatever the angle is of the literally of the opposite over here. Maybe it's a 50, maybe it's a Saturday. Let's try out 4045. We can make a live preview if you want it. So, so we can see what's going to happen. We see that something is now being, are getting generated over here. We can apply the changes if we want to enclose the window. Going back into on one layer system, we should see another set of things over here so we can always go and enable and disable them. So this is the backside of the metal. And this one here is going to be literally the complete inside of the metal. And then we got this one here, which is probably the newest piece. And this one here is going to be like the inner frame area. I'm going to take them all hold Shift if you want to and make them just dark. So maybe pick one of them colors on, maybe some of them so we can see them easier and play around with them. So I want to make them all a fill and I want to give them all a dark area or dark color. We can see now instantly it generates the deaf for us, literally automatically. So there are objects which we can still slightly see over here, which are below, are behind the other object. But that's fine. We can make use of them, which is absolutely phenomenal. Now if you want to, you can group them completely together. So basically use this, use this path over here and maybe add it to this general groups. So we can make this one center to the upper path. So I can take this one and bring this inside this complete group. This is my indent area and now I can use the align tools once again. So again, we want to align this maybe to this ring area. And what we can take us, hopefully the complete group of here by holding down the control key. And then we go to Align and Distribute and center one and the other. So they are basically are hopefully going to do the same thing. Like aligning and distributing automatically. I don't want to take this inner ring over there. I want to give it my gradient. So this is the pause I just generated beforehand. I go to fill or a gradient fill. And what I want to pick us absolutely the one of them gradients I have created beforehand, maybe this one, and do the opposite of the outside. So we're going to have a bright shine in the center. I'm going to select the gradient tool again, take the darker area. I'm bringing this literally over here. And the lower area, the brighter area over there. So we have like a nice contrast. If that is too much or too small or whatever, then go for it and change accordingly. So change it to whatever is necessary over here, the final step is literally just creating the letter or the logo. And maybe some small shining bright something, maybe a star. So we're going to go for it and select the star symbol. Go to star here, say five or four or whatever corners you want to have, maybe I can use for and just test out. That looks pretty good. So with a spoke ratio of 0.5 and rounded and randomized 0, I can use that as a highlight. So I can maybe make this one white and scale it down. Hold on Control and Alt, so you can create some brightness in there if you want to. You can also always go into it selected and play around with these things here in the center and like with the actual helper. And if you want to have multiple of them for free, to create multiple of them, like maybe highlight some here and there. You can also put some graded and side if you want us are all totally, once again, as usual, up to you. So the final step is now bringing in the lateral or the actual logo. So I create a new layer over here and just name this one logo, let's say Bitcoin. And make this also an indent or an out and scenario basically like an out and letter. We can use the letter tools and general. So we just create one letter and type a, B, and C If that does kind of fitting one needs, which probably is not the one you are looking for what you can do with this letter. Now, over here we can choose any font of our liking, maybe a Calibri or maybe we find the one which is used. And we can also, we should be able to when selecting ones using the actual down and up keys on your keyboard. And switch through and see which one of them letters might fit. Two, how are the actual Bitcoin letter looks like? And then we just pick literally any of them or any of them we like. And we probably can create a Bitcoin letter out of this one. It looks pretty good As Reza close, I guess. So. It's the Franklin Gothic malloc. If you don't have this font, feel free to go to Google Fonts and downloaded. It should be free. We can scale this up. I'm holding down shift once again, like Control and Shift at the same time. And now we need to add some extras over here and over there. So basically just some rectangles. So since that is still a letter, we want to make sure that we're going to convert this also from object to pass. So I basically, if we select that, we have all the actual notes to be selectable which is needed over here. I'm going to use this snap tools because I want to snap to the actual corner. And now we can see the snap tools have been improved quite a bit since. We can now snap and SSI also different. We can also see different, let's say helper lines popping up here and there. I believe this one is not too shabby. I'm not quite sure about the size. Maybe it's a big go and look for references. I'm going to duplicate this, snap this one down below, and now I duplicate this two more times. For the top, I hit control D once again, select it once and hold down control and snap, rotate and snap it to wherever I think there's going to be, maybe it's going to be like somewhere here. And then I'm gonna go and make a second one maybe like over there. And once again, feel free to play around with these, make sure they're fitting in size. You can also multi-select and scale them downwards if you want to and if you need to. Once you're happy, Control D and duplicate them to the bottom of this letter. And now the final step is we're going to pick all of these, convert them. Object to pause. And now I want to make sure that I bring them just a slight bit in Awards into this layer. So they are literally a bit overlapping. Not too much. If the snap tools are in the way than just deactivate them. I want to make sure that they are overlapping because we want to collapse these letter pieces now together into one single object. So I select them all hold Shift for multi-select, go to pass and we say union. And at the final step we should, well, that's what I hope. We should have a letter, a letter as collapse together. But as you can tell, it doesn't really work over here. So I'm gonna go objects to pass once again and try again. Probably it has something to do that this one is still in a different, let's say group. And so I might need to go and take this path out of this group or get rid of the text group in general. So I try again, pass Union and as we can tell, it doesn't fit. So I wanted to take this path outside of the actual texts group. And literally, I'm not quite sure is that it's really necessary to be here. So I just highlight or unhighlight this one. And as we can tell, even if I disabled that, I don't see any change. So I just deleted. And select all of the single pieces once again and try to say pass and Union. And now everything is going to be one single object. In the older version, it might help here that to change from a stroke to pass first and then from object to pass. I'm maybe you have to do it multiple times and see if that fits your needs and works in general. The final step is literally we just want to see what is going to be a good size for our letter over here. So we can scale up, hold down control and shift. And we might want to use the snap tools. And we're going to see, okay, this looks like we're kind of in the center by using the snap tools, we can also use the align tools. As usual. For example, we select this inner circle over there. So we know, okay, this one is the inner circle and then we'd pick the B. And then we can disable that one, go to Align and Distribute and see if that maybe is a better way. And the final step is since that is a pause right now and which is combined completely over Here we go again to x tangents generate from pass motion. And at the very last, we're going to go and do the same thing as we just did over here and just apply the changes. Once it is done, as you can tell, it has now generated the outlines of that path. We can just close that window and tinned the actual b with our shadows and also the upper area with the content we need. So first off, don't forget to go in here, go into the generated paths areas. There are a bunch right now. And we just multi-select them all and give them at first the shadow color and see which ones are going to be really necessary to keep and which ones are not. So I go to fill and just pick this color over here and then we can see if that is going to be, let's say the correct way. And as we can tell, that does not look correct because the shadow area is now in the opposite of this one. So I literally go undo this step and do the opposite with a 215 once again. So again, go to Extensions motion. This little window is going to pop up on my other screen. So I'm going to drag it over. I'm going to choose 215 probably this ankle is not 100% correct. I apply the changes once again, so I get the opposite of that, which probably or doesn't seem to work 100% of the air depending on what I have selected. In my case, I have selected the wrong object. So I'm going to have to redo this. So go here and apply the changes. Once that is going to be complete and the motion graphic has been created, I just get rid of that. And once again go into the newly created Path Tool, select them all by holding Shift and the last one, give them all a fill. And now we can see it is the correct direction. So last but not least, we just fill in our gradient directly on the B. So it is looking like a, like a golden shyly something. I just select it once gonna go and select the gradient I prefer to see this one might be a bit too bright, so we might go over and play around with them. May we need to change some gradient here and there. So it is going to look pretty nice for us. I try out multiple things over here. Probably this is not really going to work in general. Maybe we need to do multiple gradients over here, or maybe I got to go and select this color being the last color as well. So I just pick the color picker and just play around and see which one of that colors are going to work the best. Also, we can see that the actual outlines over here seem to gut the gradient as well. So since I probably have selected all, I hit shift once again and try to select all the little pieces of the actual border over here to just over ten them accordingly. So hit Shift and select the first and the last one was the Shift key, the last one and see, once they have been all selected, might take a second. And now I'm going to go to full color once again, so we don't have any issues with that. Select the color picker, pick color of your liking, and then check the actual result. Doesn't look too shabby. So it is a standing up quite a, quite a good amount. If you want to, you can once again go over and change the brightness in there, change the gradient in general. Use the gradient tool, play around with the bright areas and the dark areas and see which one is going to give you the best results. So you still can see literally the outlines of a here, the shadow area, and so on. Once you're happy with the result, maybe you want to go for another bright area here or there, maybe a little duplicate of this A-star, maybe somewhere. I don't know, you like, or some position where you'd like to have a highlight, maybe here, and then you're good to go. Don't forget to save everything and get rid of all the other pieces you may or may not use. Like for example, they are objects below here, there are objects below here, and below here, and so on and so forth. Also some of them, as you can see, a cut in pieces. So you might want to go in and combine them to be one single object if you want to highlight them accordingly, or maybe give them, you know, just another gradient on top. Then firstly, to do that. 35. #35 Necklace Part 3: Welcome back to the course and this point I want to finalize the actual metal or color or necklace as much as possible. So basically I want to combine those single pieces which are literally like a cut in pieces over there. And I wanna get rid of everything I don't really need. We don't really need. If you want to introduce some other shadow areas and here you might want to go for just for free to do so. What I do literally I just take a look and see this one here is one and the background, I can just hit the delete key and get rid of it. This one is a one I want to keep. Now I select literally through all the objects and you can delete them and see which ones you probably don't ever need at all. So now we cleaned up this complete area. We can also do is, by the way, is we can take those first objects and group them together. Or we can also say pass union and we should be able to Union them. And you can now see there are no cuts anymore. So this is going to be a single object. We're going to continue that everywhere where we don't need them objects to be. So I select them one after another and see which ones are the ones we really need over there and which ones we don't need. Now, once again, this one is the first object we can now select the other one, hold control for multi-select one after another. Then we go again to pass and union. So we've reduced the amount of actual object inside objects inside the scene. I don't need this one so I can get rid of it. And now we can go for the next one. So this one isn't necessarily one. And the second one here is not needed anymore. So we have no real, we don't really 100% they know which ones are going to be together, but I believe these can be collapsed together if we want to, if you want to have multiple golden effects on them for free, to keep them a single, because that way you can organize the gradients based on net, the direction of each of them sides. What I want to see, of course, is the other pieces, but basically I want to get rid of everything we don't really need over there. So some you might want to go and split apart. But in general, you want to get rid of all the unnecessary pieces. So this one isn't necessary piece. Undo this and go through all of them one by one. This one here can be deleted. I guess this one can be deleted and so on. Feel free to do this wherever you please and like and where you really don't need the actual objects like Everywhere sitting behind other objects like this one here or this one. These are all unnecessary objects which are just filling the scene, making the file literally bigger. So we can completely get rid of all of these in general. So once we are, once around, there was one more. We should be good to go over here. I have cleaned up as much as needed so we can, I believe so double-click this and rename this for example, this is going to be the actual shadow or shadows, which is going to be like the indent of our actual Bitcoin piece over here, Bitcoin metal. So this one here is a warm front. So if we want to, we can also get rid of this actual group over there just by dragging the path out of it, just like that. And the shadows here can also be broken out, I believe so. We can get rid of this useless group. So we just deleted or we just hit the, the, the exit key or the delete key. So this is the Bitcoin, this is the base and these are the shadows trying gonna make them part that I'm shadows. I make them part of the actual logo, but I need to put this one here above the shadow area. There's one more as I can see over here, which I don't really need, and maybe a bunch of others which are really unnecessary. So for free to check them all out and goes through and see if you have missed any. I missed this one. So feel free to delete all of them accordingly and you should be good to go. Looks okay. So far, at least for me. Don't forget to save your scene. And we can now think about some kind of, let's say Shane or something, which we can literally create to hold that. Also, we can create some kind of a holdover you or something similar, depending on how we want to construct the rest of the necklace. 36. #36 Necklace ETH Logo: Welcome back to the course and this part, I want to quickly create the theorem logo over here you are free to create thousands of different logos of any currency or of anything you want to see in the center. So I'm gonna go and add a new one. I want to name this one gold and E, C URI or whatever. And just have an extra one. I don't want to be a one this to be inside the golden Bitcoin. Actually, I want to have this inside the goal of a theorem like an extra layer and so liked it. Now we're going to use the point curve and Bezier tool, which is just a symbol. You can also use the triangle shape tool or whichever, but literally doesn't really matter. I'm going to go and try to generate a logo, which is literally looking like that. So first off, we can go and create some basic shapes. And basically that is not really what I need, I guess. So. Let's do it with the square tool. I'm going to go and hold down the Control key, go over corner. So it's going to be literally the same size. Now I'm going to select this double-click or click once hold Control and actually rotate by 45 degrees, click once again and squeeze it together. So this is basically the middle of our actual theorem part. Now since we got these outlying points, we can make use of them. So literally to snap things to it. For example, if we go and activate the snap tools, we should be able to have the handles directly on them, snap points. So for example, like this now hold control go up and you can select that literally any point you want and now you go back. So when we now tint this and to let say any other color, you should have the left side of a theory on logo. If this point is going to be too high, then you can hold Control key once again and bring it down as much as necessary. The final step is to literally just copy and paste. So we hit Control D. Now we go to this tool flip horizontal, move it to right, and we're good to go. Now we just need the bottom side. We're just literally having the same things, but at the bottom and a bit squeezed together, gonna give it another ten so we can see what we're doing. I hit control D once again and now flip top to bottom, hold Control and just bring this over here to the bottom side. This might be a bit too long so we can squeeze together, but we don't wanna do it this way. We want to take the points directly hold control, and go just upside down. So don't go over to the left and right. Just go straight up and down and see where the point of interest might be. The final step is we need to split this one here, a part as well. So what we can do is to split things. We just create a new line from a to b. And what we wanna do is we want to stretch this upside down, so it's going to be bigger than the other ones, but it doesn't really look that we have hit completely. So let me just tint this black, so hold shift and make black so we can see what's going on. We don't need any fill color at this point. But what we want to see is that we're going to take this point, hold control up and down. We want to split this piece by this piece. So this, trying these two triangles need to be split by this line. So what we can do is we use select first this one, and then the line at the second. And then we'll go to path and say it should be division. So what we now have is hopefully two elements, one element and one left element. Pretty good. Now we can turn them based on their color. We want. For example, we can make this colors brighter or darker at this side, and this one is darker on the other side and so on. So basically what I would do is I just take all of these pieces now since these are darker than these ones and adjust flip horizontal bar, does not really what we want since I missed one of these pieces. So it's not like them once again, all hold Shift to do so. Flip horizontal. So this ones here get brighter and these ones here are getting a bit darker because the light is coming from the right side, it seems. So. Now we have also this a little, Let's say angle over here, which we need to fix anyhow. And probably we can do this just by a slight shift up and down. So maybe we are good to go with dad. So we need to test this one out. If it is doesn't really fit over here was this night shift, which kinda looks wrong. We can also try and make one side probably it's going to be, this side needs to be a bit larger than the other side. So we basically squeezed these pieces together and enlarge and these pieces. So this one gets more light in general. So we are going to deactivate the snap tool so it's easier for me to handle them. Kinda make this one a bit, Let's say shorter and size. And these ones slide a bit larger, maybe. Not too much, just a bit so we can see what's going on and maybe that's more than enough. And also maybe if that is going to look a bit more to the right, then we can do so. I just select all the pieces. Now I go to this tool over here to the handle so we can now try to manipulate it and push this one a bit to the right. So it's more like looking 3D ish once again, as we had done before. Now we can take them accordingly, make any kind of colors we please and like, and we're good to go with D is cerium symbol. Once again, I'm not quite sure about this point over here because maybe they still have this indent area to their side. But once again, this is something we cannot always know over here. I'm gonna go and tint these now in to the corresponding colors. For example, this going, going to be a bit darker area. Maybe I pick one of these or maybe I'm going to just pick the darker in general over here. These ones here are going to be a bit brighter. So I'm going to pick maybe this or even that one. So it's definitely a bit brighter bar doesn't look bright enough. So maybe I'm going to go even brighter with that. Now for these two, I can try out multiple colors over here as well. This one doesn't look too good, so I try out even further more. This one has to be darker color. Definitely. So I might go with that or try this one once again. You can play around with these colors on your own. And this one here needs to be a bit brighter than the base color at least. So we're going to see a difference between them over here that looks pretty good. The final step is we're going to take all of these pieces right now and bring them kindof, I tried to kind of in the center of the actual metal or the actual color. And that's it. Nothing fancy, I would say if you want to, you can also create once again, some kind of a shadow area of the law that So literally just some triangle. I can use a snap tool. So if I want to snap to the corresponding, let's say object points over here. Tried to hit them all as best as you can and make them, let's say dark, blank or whatever. It's in there, fill color. We just need to fill it out and know where we just brought them right now. Usually, they should be somewhere inside our actual golden Ethereum points over there. I'm going to bring it up at the very bottom, like so. And as you can tell, it's a bit too dark. So I might go into the Alpha over here and reduce that alpha just a slight bit. And if you want to have some, let's say extend on the left, you can just extend if you want to have a gray piece or the grayish tint over here does not really work for you. You can play around with the other base colors over here once again and see if maybe one or the other color is going to fit better. Or maybe the Super darkest color over there. Just select it once again. Sometimes it happens you click somewhere else, but not where I want. Test out and see you for one or the other colors are going to fit your needs. And that's basically everything you want to do for that. If you want to extend this for free to do so, I'm happy with the result. So in general, we can, or the potential owner of them do one per cent, they know what this is going to be about. So once again, feel free to design a two-year likings and to your needs. And that should be it. Don't forget to save often. So you don't have probabilities and crushes here and there. Just work safe as always. 37. #37 Necklace Chain Part1: Welcome back to the course and this part I want to create the chain or something similar for the neck lines. So what I did beforehand, I just split it or actually sorted the layers so that we have a golden layer with the gold and logo of what the Bitcoin as well as for the theorem and the golden base. So what we can do is that later on is simple. We can just enable and disable the ones we want to see or even not. So what we can now do is we're going to be able to create a chain. So we have a full neck lays like around here. You can make it Bacon small and whatever you please in line. You can be as creative as you want for that. So the first thing I want to start with as a circle, the size at the moment, it doesn't really matter. So I just opened this one here. You can create this in the golden bass, or you can also create a new layer just for that. So we can create a new layer and we name it. Maybe chain of causes is going to be part of the Golden areas so we know where we are. So I just delete the one, once again, go to the chain layer and create a new circle. So this is more like an oval shape. Once again, you can also use a square or rounded square. You can use whichever part and whichever pieces you like. I'm going to duplicate this Control D and drink this bone down, hold Alt and Shift, or Alt and Shift and just reduce this one and bring this a bit to the side. So what I want to do is I want to have like an offset, a chain going left and right, left and right. But I need to still keep the sender in mind. So we can also do as well as the inner one. We can just scale it a bit together. So it's more like looking more like a wheel. Now we go for pulse and then we go for difference. So we have a hole in the center. So how do I want to construct this one? Is if I duplicate this one, Control D and flippers aside, you're going to see that as like an opposite wheel. So what we can do is we can literally bring those two things. Are these two circles in-between each other? So they are literally overlapping. We can do it a bit sideways. So whenever we do later on two copies of them, they should fit inside of each other. If that does not work well them for free to change that accordingly. So before we can actually go forward and see what we wanna do at this point, we can also create some kind of a line from top to bottom hold Control. So you go straight and right-click to end this. So this is basically laid on our cup line. We want to keep a bit of size or a bit of overlap over here. So we have a bit space in-between whenever we cut this so-called later on into two pieces that we can overlay them to each other. We just need a bit of a gap and Beet bit of a space. So now we can design this one. We can literally do whatever we please in like for example, we can go and fill this with a radio, was a radial gradient. So just create one from the inside to the outside. This is the length over here. Or we can do is inside our fill for the actual gradients over here we can choose whichever gradient we have already formula example. We can use one of the ones which we used for the necklace itself, like for the metal. So for example, we can use this one so its color wise matching our actual metal over here, so your colors should be there. We can play around with these. We can, for example, also make it so that one shines more like on the one side, but not on the other. We can also make the other side a bit darker, like literally shift the colors of away from each other. So for example, like in this direction, let's say. To do so we can reduce and increase the actual radius over here. And we can also move around the gradient, for example, from the left to the right. If the gradient does not match 100%, well, then feel free to use another one. Also, we can create light on highlights for certain areas, for example, here and here. So we're gonna be able to make it a bit more, let's say shiny. And also filled with different other gradients if we want to. Also, where we can now do is just to get it right or actually understand where we wanna go for. We're going to select them both to the line as well as the so-called when you go to paths and choose division. So now we have a divided circle, like two pieces. I Control D them. Now flip them over and bring them up just a bit. So until we see that we still got this gap, this second piece here needs to be under this piece. So I'm gonna go downwards with that in hierarchies. And now you can see these two circles. And let's really grabbing themselves into each other. We now can do to finalize that. We can put some shadows in between if we want to give it a bit more, let's say depth. Also, what you can do is for this upper pieces here, we can play around with the gradients here again and maybe shift them a bit apart or around. For example, we can take the center point of the left side as well as the right side at the same time. Maybe also bring things away, but up and down. And so we have more like a darker area or at this point here as well. If you want to, you can also go and put some dark area over here and this piece. Or we can also create some overlaps to bring them apart or one under the other. Don't forget where the cut is. This is what we need to take and keep actually. And so when you are happy with the result, you can once again always play around more with desk gradients. So probably gonna go for this flag here and maybe you put this a bit more inward or outward. So you can see this moving around also in here whenever we use that flags. So the center one can be moved. So, but at the moment it doesn't have much of an impact. So once again, we can play around with these gradients and make it as beautiful as we want. If you're gonna go for highlights and stuff, makes sure that you also cut them into pieces. For example, if we would go for a highlight over here, we need to cut it into pieces so the highlight can be overbroad or overboard. In this area. If you don't want to go for a highlight this way we can once again, barely sometimes see this little gap over here. So we can do the highlight literally directly here in this area. I'm going to paint some on it so you can see what's going on. We can do the opposite, of course, for the other area. Or basically we can do a darker area over here. But if we go for the other area, as you can see here, we're going to go this way. Here we got the other gap. We can also say we want to have another highlight maybe on this side. So basically these two are going to be representing the same area and we can put a gradient on them as well or whatever you please. And like, once you are done with that and you're happy with the result, we can literally keep them as they are. And duplicate, reduce in size and so on and so forth. So once again, keep in mind that when you go and create a shadow, shadow area for this bottom area part over here that you don't go over this area. Let me show you the important pieces that whenever we make a shadow like that, and we're going to stay inside this array and not going and overthinking of going over this little line over here. So if we're going to say this one here, not this one, but the actual shadow area over here. This one is the one where the shadows should happen. We can go reduce alpha and bring this one down here in hierarchy. So acute, literally inside this area over there. Maybe I gonna go for it a bit in the center, going to make it a bit more rounded. So it's literally fitting and highlights the inner peace here as well. Make sure that it is rather flat and probably symmetrical. And maybe we're going to move it around a bit and see where it fits 1% or as best as we let say wanted like once you're done was done, you can do a duplicate of this piece here, Control D. Then we select the shadow area and then we say pass intersection. So we only have the shadow intersection for this area. At the final step, you might want to go for and do this for the other side as well. Depending on where you want to go for and from. These two pieces are now connected together. So we could, if we wanted to just group them, so they're both generally fitting into both areas. So maybe we want to or we need another shadow area for the opposite side. So like if we are taking this ring and just duplicate it above, like here, we might need to have another shadow area on the other side. So for that, we now go and maybe make this one below. We can make it below like this way or below like that way. So they are literally intersecting all into each other. So all of that, once again, it's totally up to you, but in that way, we can now duplicate and create multiple pieces. Over here. I'm gonna go and get rid of this one. Select them to Control D to duplicate. So I have the shadow, shadow area as well. Flip it over and bring this one upwards until we, let say fit the area so we have the small gap over here. You're going to take this group and bring this to the bottom just two times, I guess, as a slight pop over in this area. So we may need to go and fix that as well. In that case, it's the it's the actual gap in between them. So I need to probably need to lift. This bottom area. So they intersect, are not intersecting too much into each other. And so now we need to take the bottom part. So basically just the left side over here and bring this one up multiple times, once again. So they're not intersecting. But in here we're going to see still this gap. This gap might need to be cut off from the other opposite area for us. So what I do is I just take these and I duplicate this, this one area and also cut away this area over here from the shadow. So I duplicate this Control D. I ungroup the actual pieces over there. So I have this, this area here being separated. Now I take this copy and put the shadow at the same time. So select the shadow, select the copy. And as you can see, there's this little intersection which is going to be not good. So what we're going to say is we got to pass difference. So now we have taken away this little triangle from this area. Not quite sure that is correct as it is, because it seems that there's a little triangle leftover over here. However, we're going to take these two once again together and object group. Now we should be able to copy and paste both of them pieces hundreds of times Control D. And we shouldn't see any issues on them. As you can tell, there's this little triangle right now, which is probably our issue over here later on. So we might need to go and cut away even the other pieces. So we only have the pure shadow area. To do that. We might want to go and ungroup pretty quick. Once again, take this shadow area, we can see it's bigger. We take this Control D to duplicate, select the shadow area. And we say As difference, just once again, not quite sure when this little piece of them comes from. So I'm going to go and we can see it has nothing to do with this one. So let me just take a look. So basically this one here has to be one higher it seems. Or we just cut it away, but I just cut it away but mistake. But it's okay. No no worries. Usually invisible. And if that is visible than we just need to fix that again or create a shadow area once again. Now I go for the group, the backside with the shadow once again. And now we can control D to duplicate, bring it upwards. As you can see, the shadow areas still is available here. So I need to go and see what's going on over there. I just had to redo the step to just duplicate or actually just to cut away the pieces because they have not been as they should be. Now we flip over, copy and bring this up words. Make sure you hold control and move around so you don't have any issues was at them shadow areas? Probably the shadows may or may not fix a layer fit into the actual areas where they should be. So you might want to think about taking away some areas or some shadows over there, or just create new ones for the particular areas. Now, move this one. Don't want see a bit. So you can see if we lift this complete ring just a slight bit again. We're going to see that the shadow is now going to fit also into the other side over there. Sometimes you might see the gap in the program. We can just hope that we laid on, don't see them when we are done with generating or creating all the pieces. The last one over here does not have any shadow, which probably is a good one. Now, this is basically the first ring we might want to see. And now we just is a piece of just copying pasting and bring them into the corresponding order. But this is what we're going to create in the next video. 38. #38 Necklace Chain Part2: Welcome back to the course and this part I want to finalize the actual chain. So I'm gonna go from some kind of neck area over here and just create a Bezier curve like this, make make just a line visible. And then we go for the other side. And maybe it is like so. So this is where our chain might, would go for the actual Nicholas. So now we just need to go and copy and paste and rotate the things and the rings until they fit it into our needs. We also need to go and scale them down. Before I do so I just do a copy just in case. And so if there are any issues, was that light on or we need to redo things over here and so on, we can do so. I'm going to reduce the downward. So I've until I think this is going to be, or this could be quite a good shape or size. Over here. Rotated a bit and see until it fits the actual size. I want to reach over here. So probably that's a bit too huge. Maybe it's not. We'll, we will see. Also what I wanna do is down this chain is going to be below the actual base. So I take this layer and bring this below the base. So, so we don't always see all the content. Now, when we are done was done. We can now select all the single pieces by just going over. But as you can tell, there's also the star for sometimes or content from the base. So what do we wanna do is we want to lock the Bitcoin or just make it invisible. And same for the base probably, but I want to see the base so I just lock it so I cannot touch any kind of pieces over there. Now I have all of the necessary pieces selected, so I'm not quite sure if they are all the correct ones. I believe so. Now what I can do is I want to make sure that this first pieces here are not going to be selected. So the first two, but I want to just duplicate the other ones. And that's what I do, Control D to duplicate. And I'll see where I can fit them in. Also, when you already are ready to do so, you can align them so that they are literally sitting under each other. You can also go and rotate them probably you have to. And sometimes they may fit and some times they don't. So just play around with that and see how it goes. If the shadows don't match, well, then fix the shadows to your needs. Bring them down in hierarchy until they grip into each other. And once again, if needed, just rotate them around so they are like following the line over here, Control D once again, bring it into the next area. On top. I may want to go and rotate them a bit and bring them also two times. Don't want maybe it has to be three times or multiple times, just test it out and see where it has to go. And he, I believe you're going to create one more for this one empty area over there, which I might squeeze together, bring this one down. So it's like going inwards, rotate quite a bit. But make sure that the overlaps are not too heavy. And I will get rid of these two over here because that's not necessary. So once again, if you're happy with the results, are free to use that as it is. And what we can also do is we can do literally the same thing for the opposite side. To do so I'm going to take our copy over here and duplicate this once again, just in case. And scale this one down first hold, hold the control key down until it fits the size of the other ones. And rotate the first pair over here until it is literally fitting the the initial or our, our actual flow of the paths over here. You can always go in and change, rotate, as well as play around with the gradients on each single piece if you need and want to. Also, you can try to just rotate single pieces until they may be also fit the actual content below. It's like going in this direction over here. It might work. It might not just test it out and see how it goes. So basically I do the same thing. I bring them into each other, bring them down multiple times until they reached a point where they should be. Then of course go and rotate them until they fed. Maybe I need to rotate this one a bit as well. As you can see, they're kind of fitting, still fitting into each other. So that's good as it is. Then maybe we need to play around with the shadows. As I said before, Control D. This was one thing too much. So I undo this. I just want to have the first four over here. And the past is going more inwards. So first I bring it down multiple times until they literally overlap over here as one of these strange overlaps. So we might need to go and see if that fits or fixes itself automatically by just by just rotating the pieces around and bringing them into some, let's say good position. Sometimes it is like when this cuts are going to over hit each other, that might not fit one per cent. I got to delete the last two because I believe this is pretty good as it is. As at least for the moment. By the way, you can always put stuff below it so it's not maybe not visible later on. I'm not quite sure if that is even visible later on. Once you're done with that, you can get rid of our paths and the background. Just select and delete. And now we got a golden necklace Once again, if the design is not yours well, for free to make your own right. Nobody holds you back to do so. If you want to, you can just take the actual shadow areas and put them where they say is supposed to be. And you can go into this, into this layer areas and play around where they should be and could be, and if they don't match, well, you can also keep them and let them there. I mean, why not? Nobody holds you are nobody tells you to do or not to do stuff over here. Okay? That's it. When we can now do is we can, out of these pieces, we can also create a silver one by just changing the gradients to be gray scale, literally. And that's probably everything we need to do over here for that, like lasers so far. So now we have golden chain. We have the golden pays, we have, and a golden Syrian peace and a golden Bitcoin p. So basically two different golden necklaces which we can implement into our NFT collection later on. 39. #39 Silver Necklaces Part 1: Welcome back to the course. In this part, we can pretty quickly go and create the same content into gray scale, like in silver. So how do we do this? We literally just take the complete golden package here and duplicate the complete layer. So we go to right-click and say Duplicate Layer, and we hide the golden one. And I unlock the goal, the golden copy, and rename this one to be silver as an example. So what we wanna do is we're gonna go to all or through all these pieces and change the colors to be gray scaled colors. And probably the easiest one as we just start top to bottom. So we go and check what we got. We got two stars. Then we've got this B. And if I go and select the tail, you can see there is this gray scale colors over here. So what we can do is we just select them all and reduce the saturation of all the actual flags here. To be grayscale fully. You can also go for it and do your own content, of course. And can you go and use your own area? And we got the shadow area over here so we can literally select them all. Once again, change here and reduce the saturation. And now we can do this literally for every other piece, whichever you please in like for example, this one. If things are grouped together for free to ungroup them. So I just want to see where we are. So this is currently a group. This is a star. In the group. We got multiple areas so far, so we need to go through them and select them all and just go top to bottom through all the colors are the flags, and reduce the saturation so you still have the shine. Maybe you might want to go for maybe one or the other. Like maybe this one could be a bit more bright. So we have a bit more contrast. But this once again, totally depends on you. So decide how you want to highlight things accordingly. Then we got this shadow areas over here so we can select them all. I believe we have some leftovers over there which we haven't cleaned up yet. We should be able to do the same thing. We just go to Color Fill, which is wrong at this point. So I need to take a look pretty quick. Which one we haven't actually set. So the first one is seems to be the center point, and the other ones are at the extra shadow areas, so I reduce saturation on them. Then we got the metal and the metal is definitely a group. So we go for each individual piece over here and reduce a set of operations for all the complete colors of this gray scale. And same thing here. If you want to, you can take one or the other and just give it a bit more, more beef if you want to. So it looks a bit more, let's say shiny. Maybe we wanna do this for the BI center here as well. Just to have a nice, Let's say difference in between them. We got this piece over here. I believe this is the circle which is just having a plain color in the background. But it seems we have changed this one already. So, but this one here is the highlight one again, I guess I make it a bit brighter, so we see this little part over there a bit better. And then we got the, the last piece which is contains two or three different pieces over here. So we go through all the flags and just reduce the saturation to 0. Don't play around with the colors. Undo if you miss hit or something. Once again, maybe go for it and update pieces accordingly. Next one, just select them all one-by-one and reduce saturation to be 0. Once again, if you need more highlighted over here, feel free to do so. Last one is going to be this one. So once again, select all the flags and reduce saturation down to 0. So now we have this one on full silver. Once again, we can make this even more beautiful. We can bring in more highlights if we want to. We can also do this for all the chains here as well. I'm not quite sure if it is possible to when we are inside the groups, but, um, that would be an update. Let's say. For example, we first off see which pieces are outside, which are not inside the group. But they're all should have the same gradients running. So let's try that out. Smacked all single pieces. Like so. And as you can see, all of them have the same gradient because it's just a copy. So let's try. It doesn't let me so it was just changing this one over here, but not the other ones. So I undo this and try again. Nope, It's not going to let me. So the easiest way probably is just picking the gradients accordingly to whatever they might have been or might should be right now, for example, picking, let's say this number or any of the other existing ones, which are maybe a bit brighter. Maybe you have a bit more contrast like this one, doesn't look too bad. So 33448. And maybe we can do this for all the other ones here as well. But this one's like this was the shadows do have group, so we always need to go inside those groups and also, um, pick the correct ones. Just see that they are matching. So they're matching each other literally. And so the circle is not literally, not too much broken at this point. Now goes through all of these p single pieces and switch them accordingly. I'm gonna do this and we're going to see us in the next video. 40. #40 Silver Necklaces Part 2: Welcome back to the course and this part I want to update a bit on the necklaces since there are no shadows, so it still looks flat. So what I did is I just created the silver Bitcoin, the silver Ethereum sign, and we together did all the rest of the year. So you have updated all of them? I was just opening all the groups over here, so it was easier for me to just apply the actual gradients for the pieces. So what I wanna do is probably create a little shadow area over here and maybe under the actual chains. Not quite true that is necessary, but this would be probably something to make it a bit look more beautiful or maybe like a shadow area which goes like this way. So it's bit more even furthermore highlighted to be over there. So usually it's nothing simple or nothing, nothing hard to do. So we just select the silver one, at least for the moment later on, we also need to make a copy for the golden one. We just take our pen tool with maybe a smoothing factor of, let's say, 40 plus minus a bit. What you can also do is you can also take the busy corona or Curve tool and you just drive or draw. Just literally just that area here is the one we're looking for. If it is not nice enough or whatever, then feel free to change it. I would go and reduce alpha and this one, just so we get this highlight over there, we need to make sure that the shadow areas very much at the bottom of each of the pieces. So literally under the even under the chain. So I put it, I make sure there's still inside silver by dislike lying under the ones. You can also fill this gap area over here as well as this gap area and maybe also the other gap areas if there are any with certain points, for example, we can just use some of the points which are round here and just see if we can simply fill gaps if needed. Gives it a bit more, let's say depth and maybe a bit more. But more of beauty. I don't know. This is a decision you have to make on your own. Absolutely. If you want to, you can also do this for the other side over here. So literally doing the same thing, I go into silver once again. And what I would go for is this area here, but here, this area here needs to be just as that small. It's nothing fancy, it's just a bit. And I want to put this down below here. If you want to create a new shadow layer for these areas as well if you want to. And since they are for both, I'm going to be literally the same. You could if you want to make a shadow layer and bring this down below under golden and silver. So they're both using the same shadows. So when, whenever, whenever they are active. To do so we can just select a necklace, go four, and add a new layer and name this one just shadows. And bring shadows below the actual golden, like this. Now we take the two pieces, the two paths here and put them over there. That means if we now hide all the silver pieces, but activate the golden pieces, you can see we have them over here. What do you also notice is probably than some of the gradients from the silver might happen to access the golden piece over there. So for example, this little area here, this ring here, got a different or maybe a wrong. Let's say tint. We have this issue beforehand, you might remember. So what we want to go for is update this one back to where it has been. So as you can see, this one has a gray at the very end, which is absolutely wrong. So I'm gonna go and take this color for this color, Let's see if that works. To pick it. It doesn't. What we can do is we undo this one. I don't know what's happening over here. Hit Escape if needed. I undo twice now, because this gradient is now corrupted, say, well, we can also do is we can pick the old one to make sure it works one per cent again. For the other pieces on the silver areas, we literally have overwritten them by the silver ones. By the silver ones. So we just need to get into and update them accordingly. So for example, this outer ring here got the silver one as well. So we just need to change it back like the inner fill. Same scenario. We just need to go and see where it is selected. If you don't know which one it is, just, you know, hide and unhide things so, you know what they are for. The first one is the gradient over here. So we can pick the earlier gradient we were using before. And now we just have the three outline pieces of here of this actual, of the actual golden base. So we just see these are all the actual arrow or the actual shadows. Not quite sure which one is this one? This is the one over here with this rim. The final one should be the three pieces over there. So we go through them and select them accordingly so they fit back to where they have been before. Sometimes it is possible to select both are multiple at the same time. So that's what you can, you can test this one out and see if it works or not. Sometimes it does, sometimes it does not. This one here at the bottom seems to have another gradient or have had another gradient. So I just go through and see which one it could be. Probably one of the other ones here. But none of these seem to fit into my last. So I just need to go and probably update the actual gradient by using the gradient tool and see which of the colors. Or maybe it didn't even have a gradient, just the color, so I just use the darkest color over there. Pretty good. So once again, doing a secondary check just in case. So we want to also check for the Assyrian Peace, which is still Golden, which is good. So this one is golden here as well, so we can hide it. Unhide silver and the theorem should be silver. Well, the Bitcoin should be silver. Once you have done with all of that, feel free to save and please do yourself a favor and save often. Because the more heavy the actual fires are going to become, the more likely Inkscape might crash. So just in case, keep on saving every now and then. If you're happy with the result, well, then we are one step further. And we now have beautiful chain, like chain necklaces over here. 41. #41 NFT Rarity Sheet: Welcome back to the course and this part I want to talk about a, let's say, calculation. We can later on maybe use and which might or might not be helpful for us what we want to go for, like in case of design. So currently we got four different body shapes. We don't really have all the colors yet, but this is what we can literally go for and think about. We know that we got some of these breadcrumbs already. We don't have the phases background right now, but probably are going to add this one in one of the next sessions, which will do. Then we got eye shapes, which we just created four together as well as all the colors of the accept the two ones over there. And then we got the beak. And in the second row over here, we can now decide what you want, what we want to go for, what we already created as the silver Bitcoin as well as the server Ethereum. You may or may not have done this with me together. We got a golden and silver, a theorem as well. So probably if you want to go for other ones like a dollar sign or maybe in the Euro sign. You can also do this or any other currency, cryptocurrency, logo and so on. So nobody holds you back to do this just for free to add as much as you need or as you want. If you can try to fill up to ten, so you later on have a bigger collection on possibility for multiple collections. Then the next ones which I haven't filled in yet, is we can create something like, like headwear. Well, we can put something like a pirate hat or I don't know, maybe anything that really, which is going to fit all the ears we need to make sure that all the ears are going to fit into is like into the design or we need to design it so that it is always fitting. No matter which ear is like, literally which kind of body shapes we are going to have. Like if one specific hat is not fitting it well, then we need to figure out how we could make it fit so it fits all the other, let's say all the other ears. Probably we need a way later on to hide and unhide the actual ears over there. I'm not quite sure, but this is probably has something to do with sub-layers systems which we may or may not have to deal with later on. We can create something like Clos, maybe something specific, something you have in mind for free to fill this out and try to create as much as you can. So maybe up to ten as well. For example, eight or ten different classes to eight to ten different cloths, a different hats and so on. So all of that later on is coming together when it comes to reality. So we have later on for different derivatives, I was talking about this beforehand. And of course you can later on go four and add other refugees on your own needs literally. But then you need to use different systems to generate all these pieces. We're going to talk about this in a bit. Then we'd done I have glasses and then the final one, um, there's one more I have left over here. I'm not quite sure if I fill it with anything and then I have something like specials, like an angel ring light, which is going to be above the hat. So those specialty or maybe some glitter is going to glitter around left and right or somewhere maybe completely in the screen. Maybe you're going to have something like a frozen overlay, maybe some fray aflame overlay or maybe something extra shiny. So whatever special for eyewear, um, which is probably what I want to go for the next ones. Like we can fit all the seams or other schemes. We're actually after a finite sample. If this is going to be like a hip hop scene style, whatever we might want to go for and create a base camp or something we might want to go for using a cowboy hat. If we have maybe something else which might fit into this cow boy scenario. If we go for pirates, well then we're going to make an eye patch as well as a, you know, like, like a hat for pirates and so on. So multiple things which are fitting into multiple themes, let's say, or multiple schemes. So you can type down in your own little table which ones you want to add, which one you want to be the red one, which one you might want to go for, not be the rare one. Then we have maybe something special. We need to create the golden body color and all the other colors already as well. So, but even those are going to be, let's say, but problematic later on, like when we fit or tried to fit normal shapes with all the colors or even skull was the colors on the skull shape which we have the feathers with than the one was the small e and the long year. Probably from each of them we only have one golden specific body shape at all. And so we need to define all of that. We can later on probably work with overlays. So we have literally something like we have created beforehand. So maybe the body later on is going to be just gray. And we just put an overlay of all these colors above the actual body, something like that. To simplify the process, if that works or not, we will see or actually we just tend to the body itself which we already have created already as well. So we just need to take the base body color and just change it accordingly, which is the one which is absolutely at the bottom of all the shadow areas. So we just need to split the shadows from the main body shape at them. We should be good to go. We just need to see the order inside the layers as well. So, um, but still this can be laid on tricky depending on the generator you're going to use in the end. Meaning normally, the actual layers are going to go like one below each other. But when we put all of these bodies and one body layer, Let's say, they cannot differentiate between this as being a sub layer because a normal shape has a different red colored tint, let's say just because, well, it is a normal shape and each of them have their own so small it has their own red buddy, probably long enough, has going to be its own rather than the skull has been unknown red and the normal has been its own red. So this means we have four times the red buddy possibility. But we are not defining or deciding in between like what, like what does it mean as in the Meta data? Later on we're going to take a look into we need to differentiate. We don't have to, but we could differentiate between what is the actual body shape. And so we the, the actual bio later on when all have been minted, can select. Okay, I want to find one was a long ear with a board eyes. But also at the same time, we want to give the possibility to look for maybe a specific body color at the same time. So they can select lung, ear with marine color, with open eyes, which have to be yellow for example. So, but this is something which only works with sub-layers. So we need to learn it on design, how we want to actually manage them. So I'm going to show you possibilities. Let's say which one you're going to pick us absolutely on your own. But for the moment, just keep on creating multiple assets and create multiple hats, class glasses and so on. You get the idea, you know how it works. You can make smoking or something as a clause, for example, and where it to the actual hour. So make it so that it fits to every hour and then you're good to go. So in the next couple of ones, we probably go for glasses. So I'm going to create some set of glasses, but also I want to go for a dollar sign over here. So we have, I have more necklaces. And in the end, I have probably the probability for having a necklace is maybe less than 80 per cent. So probably around 20% altogether should be somewhere around 20% in total. So the maximum possible necklaces inside my SAT are going to be not higher than 20 per cent. So all of the owls and general will not have an actual, an actual necklace. And same could be also for hats. We can say in total, hats can only be like only 30% or something, can have a hat and probably also clause and so on and so forth. So not every owl is going to have a clause in the end. We later on we'll also need to create an maybe empty layers like where no color or no nothing is going to be inside, which it's later on going to be necessary to justify that. Or we're going to later until the layer itself, like the necklace layer, it has a rarity of 20%. So only 20% of the hours whenever we are going through this generation process are only 20 per cent of the owls have the chance to get one of them necklaces. But then we also have another thing we need to define, which is going to be the rarity inside, are still inside that. Which means only whatever golden diamond is just an idea. But maybe one of them necklaces later on is going to have only one specific one specific thing in total, maybe only 25 or five out of the, let's say complex, complete 10 thousand collections are going to have one specific Nicholas and the other ones are like 160 here, 500 there. But we're going to take a look into this rabbit t content a bit later on when it comes to minting and whenever we can define and see how we want to structure all of that. I just wanted you to see what we can do. You can decide if you want to create such a table for you as well. So just to see, what do we have over here, how much do we actually need? Let's assume I'm, the long year is going to be the railroad, the rarest. I will in general rules. So it only gets 0 comma 25 per cent in the collection, which means a total of 10 thousand, only 25 hours in this wall, 10 thousand connections are going to be long Year 1's. And if they are even rarer than we're going to pull the only one golden inside as long ear and so on. So this also is going to be a rarity inside this rarity and so on and so forth. So probably long enough or rather rare. And if it is a golden one inside our collection, then it's going to be literally a super rare. How we laid on Go for it once again is, well, we're going to take a look into multiple platforms which some are free. I'm going to show you one free and probably we're going to go for and look for another one which is not free, but in which you can also use the land system or you're going to be a programmer probably and create your own generator for that. So you don't have to pay a penny, but the time to create the generator, and we're just going to be probably go and use my own generator later on because I need to make one percentage show that everything I want to create is going to be inside. But I'm going to show you the freeway as I explained. 42. #42 Necklace Dollar: Welcome back to the course. In this part, I want to pretty quickly create a dollar sign over here and inside one necklace. So we can literally do this for silver and then change the rest of it, the golden one. The truly we're going to do the same thing as we did with the letter B over here and all the pieces over there. So what I need over here is a silver dollar. We can also use any other one you like about the dollar is probably the easiest one for us to generate because, well, there's a letter we can just simply use, right? Are actually some ascii sign over here. Now we type in a shift and four on the keyboard when you're sitting on a PC. Now we should be able to create some kind of a dollar sign already. So basically it doesn't matter what kind of color we pick and so on. So in my case, I want this to be silver, but it seems that will aid the quality or the length or opacity is going to be down. So I have x, I increase the opacity fully over here. Or maybe it's not. As, let's say, I want, maybe as present I want. So before I go forward, I got to select this and try to find the better, Let's say Fund, which might represent more my actual piece over here. So I tried to go through this list. Well, if it lets me, it is a possibility to open this. And then we should be able to just need to do this once again. I should be able to select here and then use the arrow keys again and see which one of the dollar signs are alike. And depending on the font, well, you might want to go for this one looks interesting. This one here is a pretty nice one. It's also the same one as the Franklin Gothic medium over here. You can get this from Google fonts, I guess, for free. So nothing fancy. We can make it as huge as we want. As usual. We can also give it any of the actual gradients we already have. Maybe we're going to take one of these. So we don't need to do things twice. We select the gradient tool here on the left so we see where the gradient is going to and coming from. And now we just reoriented. So it is literally in the shine. Or maybe it looks maybe the opposite to our actual dollar sign. So we have one gradient is going to be here, but the other one, well, we may or may not need to go into and change stuff accordingly. What I also want to once again do is, as we did with the, the Bitcoin, I want to do this. This backside is indent over there with a darker gray color. To do so, once again, don't forget, we go to x tangents and chair say generate from pass motion. And it was a one, one in its length. And I believe I'm not quite sure if it was a 45 or the 215 degrees, but I believe it was a 215 degrees. I apply and see if that was correct or not. And if it's not, well, no worries. We can just get rid of it. But the length of one has to be over there, so it's not thick as this one. But as it tells us once again, we need to convert our letter first into a path. So we say object to pass. So we have literally all the single nodes of this object over here. Now once again, same thing, generate from paths, motion and we can go into pro-life privilege should be able to see That is correct or not. Now it looks correct and then we just apply. So we can see already here is the actual pieces we are literally after, but we don't want to have the actual shine in there. We want to go and split that apart. So basically what we take is all the dark or the actual shadow areas and make them just any darker color. Maybe this one, you can go through the color palette. Maybe one of the other fits best. You can also use the one over here. So if we are literally in the same, let's say in the same scenario. Once you're happy with the result, you can also put some shiny stars and stuff like that on top of that. But also you can get rid of the ones you don't really need and ligand want. But that doesn't look too shabby, I guess so. I guess I keep it as it is. So what I wanna do now is I want to copy the dollar sign. So the complete silver dollar layer, duplicate layer and bring this into the golden area. So we have silver here and we have a golden hair. So I bring it over there. And they're going to make sure it is like below the Golden Lab and above maybe the golden Bitcoin. I double-click it, double-click the name, and rename it to be golden. We might need to go and once again, when we play around with gradients, we probably need to change some here and there afterwards. We just select the top area over there, go here. And as you can tell, something is fishy with the selection. So first of all, I want to see what I have selected. As you can see there is the other one are lying below or above. So this silver dollar copy, I just rename it again to be not a copy, but the original and I hide it and the golden one is not visible. So that's why all of that didn't happen or didn't work at all. So I deactivate silver completely. Now I want to go and select this one again. And as you can see, when we hide the bitcoin and the Assyrian layers over here, we want this one to be equal than now as well. So first off, we select this. Make sure we select the actual gradient and see which one fits our needs. Probably this one doesn't look too shabby. We can also always go in as we, you know, and just change things accordingly. And then I go to the layer for all the shadows, literally select them all by hitting Shift and go to fill. And we can, we should be able to take the color, pick the darkest color over there. And now our actual so silver and our golden dollar necklace. I'm going to be done. Now I go back and see if the silver dollar is still silver, which it does, which is good. So silver works and golden works. So we can go for an deactivate silver or deactivate gold. And the shadows are still over there, so we don't need to do things twice. We can unhide the golden or hide the golden one. And in the silver layer, when we are in the silver one, we can unhide the silver one. So we can now say no silver but gold. And we're good to go if you want to, once again, bringing more highlights. And that's it. Don't forget to save once again. And the next part we can literally do even more. You can do even more. You can even create multiple other colors if you want to. And then the final step, well, in the next couple of steps, you might want to go for headwear I wear and all the other ones we have spoken about in the last video. 43. #43 Headwear Bandana: Welcome back to the course in this part and the following parts, I want to create multiple hardwares. So maybe an iPad for Pirate may be left one, right one, I don't know. Probably some head scarf or maybe a bandana and so on. We need to make sure that all of the designs, we're going to create a fitting all the owl types inside of them or wisdom ears. So we need to make sure that we have some specific areas which are not over blending the other areas. Depending on that. We can create all of the layers depending on where they have to be. My head where it's usually should be above or my eye, my head where in general, even eyewear and needs to be above the eyes just in case. So what we want to go for is maybe select the eyes and add a new layer. But we want to make it not as a sub layer, but we want to create a buffer current. And then we say it's going to be headwear. And you can also go for eyewear. So basically it doesn't matter. You can put in anything on this headwear, like for example, we can make a crown, we can make a cylinder. We can make again an eye patch, which is eyewear in this case, we can make glasses as eyewear. We can make a scarf, bandana and so on. So to define what our safe areas, we might want to go for that at first. So in that case, I'm going to make an above current and new layer and take a look if I want to create just a simple bandana where I can go for that. So I named this one bandana. Somehow it didn't matter the sublayers, so I select the bandanna layer. And what I want to go for is, first of all, I make an area or just outline an area and later on I can go for and see if it would fit the other areas and might need to do changes. So for example, if we would go for just the simple bandana, maybe with some flag of Japan flag or something like that or maybe like karate kid or something. We're gonna be able to go for and make sure where could this area B, I'm gonna go and just try to find the sweet spot for that particular area where we need to go and create a bandana at. So maybe it's somewhere in this area. If I'm wrong, then I can always go and fit this omega, this one, maybe white or maybe black or yellow or something I can see. And now I go for all the body shapes and make them visible or invisible. So as you can tell, the first and the second one that ran or the common and the super rare are going to fit. But now we're gonna go into the next area where we have this year. I will like the round one and the other one. So basically it doesn't look too shabby. Like if we would go a bit down over here, we might want to see if that's still would be a good idea to put the actual graphic inside the ear, literally inside the ear area, let's say. So. We can go for it and also cutaway pieces and stuff, that's fine. But we want to make sure that we are, whenever we doing, are we creating new things that would fit all the other owls as well, like all the other, our body shapes. So I'm gonna go for it and see if that would fit also the other ones that also looks like a sport bandana or something. If we want to put stuff on top, well, then we know that we can always be in this area, but some hats might not fit the ears. So we need to take a look and actually take care of that as well. So we could do, create a bandana like this red sun from the Japan, or maybe the old Japan flag was this. Some stripes and something like that. We can make anything on top of that. Totally up to us. We can make a moon here or multiple moons or maybe any fancy something. So we have multiple products and multiple been done as we can make use of. Or maybe we can also make a scarf out of it. Like when we got to make a triangle here down over the eye as an example, like a rapper or something, we can use that. So once again, I want to go for it and see if the common one would still fit well, which it doesn't. So I'm gonna go for it and update this accordingly. So the, so all of the, once again, all of the actual body shapes would fit into that. So once again, go through all of them, see if it would fit. Well, even with the legendary, that looks pretty decent. I would say we can even make a skull over here or anything else or any other symbol, maybe even numbers. You can make a four or six or nine or 1100, or maybe an L. You can literally put any design you want on top of that. So if you'd like it as it looks, and if you're okay with that, that we may have some overlays over the ears. Well, then go for it. This is something. And if you don't like when Diana's in general, well, you don't have to create them. You just know, okay. There are limits, let say. And will you need to think of doing want to exceed this limits. So now with that, Saddam was that little bandana possibility. I want to go for maybe a white one. I select it, make it white. And I want to make it maybe like yeah, like Japan flag. So I make a circle hold Control. And here we cannot see this, so I need to tended. And so we just have a super simple batch or a super-simple something in which we are able to point out things if you want to use gradients over here or shadow areas, absolutely possible as usual, it's the same thing. You just create. The shadow area. Maybe it was the shadow area of the body. And you can maybe reuse some of these areas as well. So you don't have to go like this super flat design. You can even create a gradient completely over there, which may not look perfect. But you can be as creative as you want. Since we know where these areas are, we can use them. So like we just go be totally rough over here. Make this one blank, at least for the moment. And we can say, okay, no problem. I'm going to use this Control D to duplicate, select this piece and say pass. And then we go for intersection. So we got only this area over here and we can reduce alpha as usual by whatever, ten per cent, five per cent. So in the end that's going to still going to fit our needs. So I keep on 20 per cent. So I just need to remember this one. Going to use my tool here again. Going to make it so that it is going to fit all the needs. Just be rough goes through that. You still have Alpha 20 per cent, pretty good. Select the bandana or Control D to duplicate, select the other one, go for paths, intersection. And so this piece now is also cut 100% and that should be inside of a bandanna layer. I can now name this one, maybe Japan bandana, maybe a few later on, have multiple other bandanna as well. Feel free to use them and create and implement them. You can also go for this, this, I'm not quite sure how it looks, but this is like the sun. You can create those some stripes over here like outside. So when you have even, even more, can also go with this Kamei Qazi things and so on and so forth. So feel free to add all of that to it. So the next one I want to create for is maybe one of this hip hop triangles over here. Just take a look on to references and maybe I can reuse the bandana itself, which I will do. And then just add some more content of VM, maybe choose other colors, maybe going to make some little pattern on it. And so we can design multiple things this way. So for the moment, just feel free to save. And if you have a list like I do have showed you on the last one, Nike, those NFT rarity, a calculator list. You have some where something like a headwear or hats. Maybe I'm going to rename this to be headwear because it's there can be multiple things and then I can just pass in whatever I have. So I keep track on what I have created already been data. And later on I can decide if I want this to be around one, a super am maybe not so rare, and so on. So next one is probably we need a base cab also later on to fit our hip hop design. If it is a Hip-Hop design, I don't know. And maybe also this towel or this head scarf over here. 44. #44 Headwear Bandana 2: Welcome back to the course and this part I want to create an extra or another, literally another Bandana. But it's going to be probably the bigger, not quite sure. We need to tell or need to see this by the way also by checking the eyes, like for example, the board eyes are rather small, but if we are going to use the big eyes, you can see the Vandana is probably also going over the big eyes. So you might want to think of, is that what you want? Is that okay for you? Is that enough space for you? And if not, well, then change it. But I just want you to understand what's going on over here and if on what you need to take care of, I want to go and do a duplicate for the jumpin, but Diana and just disable this one and I'm going to name this one maybe something like hip hop, hip hop. And so again, designed totally all of that stuff is going to be up to you and just get rid of the Japan flag and make this one here maybe not full blank, but maybe dark gray. Also, what I want to add is I triangle which goes like literally over the, I, like, I like an eye patch maybe. And of course I want to make sure that the color is literally the same and we have opacity over here. So this way, by the way, later on, you can also create the eye patch itself, like if you go for Pirate, for the pirate thing, for the pirate theme, and so on. Maybe I want to maybe make this a bit more, a bit smaller. I'm not quite sure yet. I just want to have something different. So maybe like this, I don't know. Maybe I'm gonna put this even on the side. Maybe it's a bit better to be on the side not directly over the eye, but maybe like here. And what I want to make sure is that this triangle is not closing in, not closing inside the shadow area. And if it is, then I need to make sure that the shadow area is under this area. We now can do is we can literally play around with colors in general, we can highlight things over here, but also we can make use of some, let's say Pen tool, which is going to give us the possibility to make some kind of a pattern, literally. So inside of here I just create something like a pattern. Well, it doesn't really is a pattern. It's more like, But I want to have something to play around which is overlaying or the other pieces and I can just lock them so I don't touch them by mistake. What I want to go for is this tool here. I'm maybe use the smoothing of 40. Maybe we need to go higher. And what I want to choose and shape is not known but an ellipse. And I want to go for a white color tin. So if I select it, you can see here this fill just turned white. We can now take is when we use this pen non paint, maybe like anything we like, like maybe any kind of shape. You're going to see that something happening over here. This is some kind of rendering, Let's say technique in which we go for stroke paint and maybe reduce the actual size of the stroke itself. Let me, let me just try and reduce the actual size of this particular stroke. Maybe it is selectable way it doesn't seem to do through the setting. Let me redo this and make it a bit bigger so we can see what's going on. You can see this area here is getting filled in like a pen tool. Probably we're going to change the actual scale. So whenever we are playing around with the scale over here on the top, we are allowed to, let's say, maybe a 0.1. And so whenever we do another painting, this is going to be super slim. So now we need to fine-tune this scale number, maybe 0.3, and play around and see that it's going to fit our needs, maybe a bit more. I'm going to also go and get rid of the other one. So I don't need to do things twice. Maybe test was a 0.5 over here, and that's quite close. Maybe we're gonna go with 0.8. So we can always go and test new ones. So with that, we can now create noise patterns depending on how smooth we are going to do this. The smooth ER, the pattern may look or maybe not. So I would assume or I would just suggest you're going to paint just a piece, just a single piece, and fill the rest, just buy copies. So for example, you can put in anything over here. You can use your pen if you want to or anything else and just fill in. Like it would be like a border. So for example, if you go for something like that, then of course later on we're going to go and create an opposite of this. And so maybe we're going to create a second part or second piece over here, which is going to be able to lead into this area. If you don't like what you paint, well, feel free to change these things black, to change this to something else. So maybe this one here could be a good opener. Into one direction. Maybe you can also just go around with circles or something similar. Sometimes just small, small areas or more small things are going to be good for that. Maybe I'm going to try something like this. Doesn't look nice. So undo test and see if you can find anything you may or may not like. Again, the smoothing factor over here is probably the most important one. So whenever you are done with that, take the first piece and just Control D duplicate, flip over and reposition that. You need to scale that because of the ankle for free to do so. I mean, it's just an object as the other ones are. If you want to put something special in the center, like a flower or something like that. You can also do that. Now you can literally go and go and duplicate all the painted pieces and put them in line if you want to. What I also want to do is it's like a shadow, Let's say below this area. So maybe we're going to use a snapping for a second if that Let's Snip lets me snap. Well, it does not really lets me snap. So I just try to use that. Right. And then I go maybe results snapping right now. And go over to this area. Just make it a bit like so I'll make it dark black. So I can make sure that I have something below this main line of the actual shape over here. I got to try out things and see if I need to go a bit deeper. Maybe I can also go for and use the gradient which is going to go downwards over here and here we can also put any kind of, let's say design and stuff we like in please. I just see something else I can make use of Bob beforehand. I gonna go and select this p is, but since I lock the layer, I need to go into the layer pretty quick and unlock it. Select this Control D to duplicate and make sure it is since the other P is this one here is inside the pattern. I want to take the duplicate and bring this also inside the pattern area, like so. And maybe below. Or actually it doesn't matter. So it takes those two pieces go to paths and say intersection. So I only have the shadow area over here and this intersection area. And I want to make sure that I smooth it out a bit. And there's not really a smoothing happening over there. So I may need to go and add a new point here in the center. If it lets me, if not, well, then it's okay. I'm gonna go four more. Like this. Maybe. Once again, feel free to design and redesign of content you as you like it, as you want to see this. You could, by the way, also tank the bottom piece over here, this area and make this darker like, you know, like this. You don't necessarily, you don't have to go for the main color of this piece over here, going to bring this down. So it's like literally below that. But I don't like the actual colors. So I might go and reduce the actual main color over here by reducing the light just a bit. So I have a difference. I have a difference between this top area and the bottom area. But still I have this shadow area over here. I need a, I need an extra point. Maybe here. Double-click on the line if you can, and try to fill out. If that makes sense for you. Now what I can also do by the way, is I can take one of these and flip them over, like horizontal and rotate again. So this pieces are always now next to each other. Now I hit control D, duplicate, rotate until I like, reorganize if needed, and we can continue with that multiple times. So again, design wise, nobody holds you back. You can design anything you like, anything you can think of. Because this is what makes you different. And we can do the same thing for the other side. So basically I take two of these pieces again, control D to duplicate and bring them all over here. So once again, rotate, bring down. Maybe you need to bring this one down a bit further. Let's see, because the ankle over here is a bit different and makes sure your design later on fits. The opposite side as well, needs to be a bit closer. Control D to duplicate and continue with the work. So maybe need to rotate it even further, maybe a bit more. Like so. And this one p is Gm might need to go a bit down, something like that. So as you can tell, if you can put anything you want, you can use a triangle so you can square, so you can put anything, you can make it more like a Celtic design and so on and so forth. You can put in anything of a hill like is the exact frame, whatever it is, it's totally as I said before, up to you. You can also go and just say, you only want to have one side, one being designed or maybe just until this point, like the only the left side over here. Like if you go for a coffee or something, then you always have to cap it to the left. Always only have it to the right, and so on. So these are design decisions you have to make on your own. Absolutely. I gotta go Control D, this one. Just to fit the bottom over here. Maybe it fits, maybe doesn't. You can also make this one darker or brighter or smaller or bigger. All again, totally up to you. Oh, that looks maybe good. I don't know. I'm going to flip this over to the other side. Rotate a bit, maybe need to shrink it down a bit so they are not like intersecting over here. So I hold Control and just shrink it down a bit. And same to these two. So shrink them down together. And in this corner, we can also put literally anything we want. For example, I little, I don't know, maybe a square, maybe a rectangle, maybe nothing. You can also leave it free, totally up to you. You can also use one of these symbols like just in-between this area if we want to. And you can go and put in anything here as you want and place and like, try out something where I would just go and duplicate this and flip it over to the right, maybe upside down and bring it up a bit and see I can make something wisdom as, let's say as an extra, not too shabby, I would say Control D flip over to the other side. Looks like air like right now, maybe like a butterfly. Not too shabby, I guess. So again, feel free to go for it. Create more and more content, more and more headwear. So this one is now my hip hop had where, if you can call it like that, it still has the shadow areas which we were using from the other piece. So I don't just take now the pattern and make it part of the hip Diana pieces. So I just need to make sure that the pattern is going to be above all the other content. Otherwise, it doesn't work correctly. So just keep all the layers clean and safe and stuff and make sure that everything still works the way it does. And so you can continue create even more content. Creator has created things. We're going to go for it and create even more content which we can put on the hair, on the hand as well, like any hand where maybe we're going to create a crown and maybe a cylinder. And then we like having four things already and maybe we're going to go for glasses as well later on. 45. #45 Headwear Cylinder: Welcome back to the course and in this point I want to create a new headwear, which is going to be a simple crown. You can take a look into crown images if you want to. You can design again as you please enlighten. You can make it like a huge one, a small one and so on. Just don't forget to keep track of the ears so you don't intersect the ears overall. So what do we need? Basically, we first need to see where we want to put those and how we want to put those. So we want to make a small one like for Queen, more like, more like a princess, or maybe a bigger one like a heavier like for the king. So first off, we want to point out where is the base of our actual crown. So we just need to see what is going to be a good angle for that. So we just need to squeeze around and see what would be kind of a good base. For example, we can go upside down here and see if that would fit our needs. But we're still in this in this highlighted area here. So I might need to go a bit out of this area and maybe just a bit up. So I'm not intersecting it too much. And we can go and omega broader here. So we don't have too much of the other pieces over there. What we wanna do is probably just for the sake of testing here. Take one of the nodes and the numbers, and I get rid of the actual part here. And what it can tell us, we already have some kind of a hat literally done, which is going to be the cylinder head, right? Because we just need a secondary frame and the bottom. So let me pretty quickly put this. I duplicate this top layer here, applies it down below. Hold on, shift and scale outside. I gonna get rid of the actual piece here of the actual, what is it called? Snap settings. I duplicate this piece once again and just not scaled down, but bring this one down again. So we get like a frame, a frame scenario. And this is basically the first other hand we can use, I want to go for it and see if that is, let's say let's say a correct position. Maybe we need to put it a bit more to the side. We can go for gradients in a moment, but for the moment I just wanted to see if that would fit. We can also do is we can extended. So it's more like, for example, like from Alice in Wonderland, like this weird hand are going to be outside and so on. Again, up to you totally. What I want or what I need is this thousand area, like a band, maybe a red band over here to be a hat. Before we go for it. Maybe you've got to name this one cylinder because it's easier for me now until a directly create the cylinder. Just attended and give it some, you know, give it some gradients. And we are literally done with a simple cylinder hat. That's one flaw to this, like this box here, let me Gray the Omega, it's highlighted. Bring this above like a super at the top. You can see it has no round bottom, but there's a circle below. This one is a smaller circle, which is lying below the other ones. Let's see if we can find it. So these are the huge ellipses, and at the bottom, this is the top lobes. And there's one at the bottom, which is this one here, probably this path. But this path, once again, if I take this one rat and bring this one up here, you should be able to see where this path is. So now I can see this one is the original paths. This one here should be literally laid over like this. So we need to combine these two pieces, but this one here might need to be shrinked, might need to be shrinked bit, but maybe not that way because it might have an issue over here. And same for the bottom or for the top piece. If I duplicate this and you're going to see this is now the original. So then the piece we need. So how do we do this? We just say these two. We go to path difference. So this one here has the upper shape. Duplicate the top. So don't forget. Now we can combine it with this one so we can say pass different but no union. But before I do so I want to duplicate this one here and bring this up because we need this stripe or I want this stripe to be used as well. So how do we do this? Well, first off, I would combine these two. So I say pass Union. And now I can select the other one here, make it another color. So you can see now it's given us a, let's say its 3D shape already. I don't want to have this area here to also be a separate color, let's say. So I can play around with the body piece here and what's the body p is over there. To do so, we just need to fill it out. Now, how can we separate these pieces from each other? And probably the easiest one is, well, that's what we can try is using paths and division. So we have now this piece over here, which is going to become part of this one again. And we now have the other piece. I got a union, the top pieces again, and this one is now separated one. So I can take this, I'll make this one black again. Pretty good. I know we have quite a good solar know over here. We can now give it a gradient of colors and the content of our liking. I don't like the bottom over here. So I get rid of it or actually just get rid of the bottom one and just extend that a bit downwards so it fits more the actual size of the cylinder itself. So now we can duplicate this once again and make it a bit bigger, bring it down completely and give it another tint, maybe a brighter tint. So we can just go through it and see, well currently it isn't selected. So maybe give this a brighter one, like a bright area. Or once again, we can go for even more. If you want to, you can put stuff on the cylinder here as well, maybe a card and like in Alice in Wonderland, and so on and so forth. So for this top piece, I might wanna go for a gradient. So I just go from left to right hold control. But as you can tell, we still have the actual circle fills. So we go for the straight fill over here. We're gonna go to the fill here and we just play around with the colors. First off, I want to have full color. And here maybe it's somewhere in the center. I want to have a brighter or brighter area for the cylinder itself. So it's looking more roundish. You can literally do the same thing for this piece over here. So we can also go and bring a gradient over here from the main red color. I cannot go and increase Alpha four. Double-click here to create a new flag and bring this one at the highlighted over there if you want to be more precise. But well, as I can tell, I just lost a bit of my color here. If you want to go forward, you can go in even more points and make it, make it a bit more beautiful. Let's say, for example, if you want to have more like a shadow area here at the very end, you can go for it, um, make it a bit more. Just bring a way of that love and light. So you get more to the outside of the day. You don't have to go from full blank over here. So maybe we make it a bit more lighter shade. And this one here can be a bit brighter if we want to, just to fit the rest of the cylinder. And so we got the cylinder done, I would say. And once again, I do feel that this line might hurt your eyes light on. You. Just take this one here, duplicate and bring this just a slight bit down so you can see it's blending into each other. But again, this is something you want to decide on your own. Maybe you'll want to create some extra seal on the cylinder as well. So don't forget, later on there's only one eye, like one headwear to be over here. So one bandana or 11 hat or something similar. So this is because this is also seen as headway. So we only have like the cylinder or we're going to have this. If you want to have multiple of these things, then you might want to say the head where this one is going to be just for specifically just for open dances and so on. So with that cylinder, we now know how we can create a crown. And you can create a crown however you please in like in the next part. Finally, we're going to go for the crowns since we can use the same technique as we just did. The cylinder. The cylinder was just quicker now to create again, you can put in any, let's say, symbols if you want to. You can also put multiple colors if you want to, you don't have to just create a black one. It can make a purple one, can make it blue or green or red, and so on, up, totally up to you. And you can also make a different hats. You can make a cowboy hat if you want. You can make everything or any kind of a hat you can think of. Okay, so create a new one, like a new layout over here. Make sure it is a sub layer and make this one a crown. And then the next part, I'm going to add it. In the next part, we're going to create the crown. 46. #46 Headwear Queen Crown: Welcome back to the course. In this part, I want to create final crown. What I want to use is this part over here, this top piece as a baseline for the size again, um, uh, basically the size does not matter. We could even use the bottom over there, but I just duplicate this one and bring this into my crown Larry layer so I can play around with that. I hide the cylinder and I'll bring this area down or this little crown thing down below. So I duplicate this once again so we can define a size. We can scale outside. Like so, like if you want to have like a crown which is going to go outwards or you gotta make it like straight upwards. And then you can define how you want to design this. So basically you can also define the height. Don't forget you have the grid, the grid area over here, which you probably tried to well, you can touch it and snow issue, you can even go a bit over it depending on your grid size you decided to create over here. But keep in mind that you don't go too high over here. So we also later on see stuff from the background if necessary. So with that said, we can now create the actual crown pieces. I may go and scale this one from the center hold shift and scale is one a bit outside. So this is just for us to help us design the crown itself. If you want to go check for images and stuff like that. Absolutely easy. So I'm gonna go with the Northwest, the pen tool. I want to go for the Bezier and line curve tool and just create the basic shape here first. I don't care about the center because we can just cut it away later on. We can even go and later on filter content even. We can even cut in half and then fill the other side accordingly. Going to select this hold Shift and just make sure that the design is kinda mess matching over here. This is not a closed PPI users, so I want to go for and close at first, so like, like that. So we have literally an outline to play around. And if I go into double-click multiple times here, I can use that to make and to form my extra crown in its general of pieces. If I don't need the top anymore, I can get rid of it, but I want to keep it still here. Maybe I just go and reduce the opacity. So it's not in our way because we might need to go and create something for the background here as well. So we can now see and think of where do we want or how do we want the crown to work? We can make a small one. We can make a big one in the center. We can literally put it wherever we want. You want to. And if you need to, we can eyeball things here as well. I'm going to go and round these shapes a bit to the inwards over here, just hold shift and make it so that it is kinda fitting a crown shape. Let's say. I also need this for the inside of here. So basically what we could do is just copy and paste or we just go from there and create a secondary shape. If you want to use the snap tool and snap to the outer handle over here. And we need a spike maybe to be here. Then I don't know, maybe we use the circle as a guideline for the moment. And finally, go here. And then of course we close anywhere. So we are behind that right-click. And as you can tell, some of the points absolutely don't match, like this one here, for example. So we can get rid of this snap tool again. And now we change the height of all the content and the positioning. So I hold shift here again, bring the actual sizes inwards so it's more fitting again, the design and the shapes, like so. And now we can tend it. Before I do so I want to see if the front is going to be high or too low. But I believe since we on the cylinder, we can also see on the top, I will if we're good with that. So now we can go and literally create the tinting in general. So I would go for the first piece, which is this and this bottom one. I will just call ago and union them and make them full opacity and give them any color, let's say any yellow for the moment, we get rid of the saturation. And this one here is going to go behind the object. So we need to go down multiple times. And this is going to be probably going to be darker area. So instead of using this white color here, we're going to go for the color tint from the golden parts here. So this is our actual thing. We go for fill, a gradient fill from left to right, and then we pick one or the other ones over here. Maybe this second one. That doesn't look too bad. When we want to, we can always go and increase and decrease the size from one side to side or the other. So we have more shine going from the right on this the backside. This area might be just a dark area over here. So we might go and color pick this and increase alpha to 100% opacity as well. Now we can get rid of this shadow areas since we got all the sizes, we can now see, does it fit? Does it not fit? Is there's something missing. Maybe the rotation of these should be a bit more, let's say to the right. So it's more like the peak or this PCS moreover, the beak, Let's say. We can easily do this by just rotating or taking those points, just hold Shift and then we hold control and move them just a slight bit to the right. So they are more like over the beak areas. So this is more to the left, this is a bit bigger. No issue with the background if you want or you can do the opposite to these. Just hold control and move them to the left. So we still have the feeling of the roundness of the shape. And if that is fine, then it is fine. If you need to do changes to changes. If you want to, you can put an emotion like emotion shadow as I, as I have shown you before. So you've got maybe a motion shadow area into this area and into this. So you get a slight small thickness. And it can do the same thing for the bottom. So for the backside as well. So just so you have more little areas and more like a 3D effect. And you can now put anything here on top. Like if you want to put in some diamonds, if you want to put a poll or anything, you can now decide. Or you can even use the same thing. You can use dollar signs, you can use a theorem sine a Bitcoin sign, anything which fits to your needs can be put on this. I guess I got to try something like maybe like a maybe like a Ruby. I don't know whatever. Just make sure everything is in the current size. But on duplicate this, make this a bit smaller and just tinted red to see where I am. And maybe bring this one a bit inwards. Here. You can use the gradient here as well by the way. So like a roundish one if you want. So we can say we pick the gradient over here, but we want to have the round one. And so whenever we got this and go to the Gradient tool again, we can pull things around, make stuff really nicely cold and niche, like this one, pretty good. So it looks like some highlight is going to happen over here on this side. We can also play around with the position of the red piece. And I will just go and put in a bit more things into this. Which are the more brighter and give some highlights, give some shadow areas. Maybe I'm going to create a bit more, some circle and make this one white. Try again. Just to, just to put some highlights here and there and give the illusion that this is something really nice over here. If you want to, you can also put in some shadow area in the bottom, which might look good. If you use the pen tool again, don't forget to go back here into the list and pick non, like, if you wanna go and paint the shadow area over here, let's say they want to make sure that you have the settings to be reset. And then you can easily go in here and paint and close shadow areas, for example. And I'm going to go for unchanged this point here, just get rid of it. Totally. Make this one a symmetrical one. But this may be a bit down, a bit broader. Don't forget the less points you have, the easier the handling. Gonna make this symmetrical as well. We wanna go for a rather not too heavy. Um, alpha, maybe like that. Always check recheck, see if something fits on OT. Play around with the handles. And I want to be sure that this highlights up being above. So I bring them up twice. And maybe this one above as well. I'm not quite sure about this, but there are possibilities. And it can also go in and put an even furthermore, content can always recheck. May go for and create another highlight here, which is even brighter. But maybe not so much opacity. And bring this down under the white ones. You can, if you need and want, of course, go for a blur. Like if you want to not have such harsh highlights, you can blur things together so they may or may not look better in the end, that doesn't look too bad. Again, you can go for the 3D effect by using this motion. If you have forgot how it works, you go to Extensions. Then you go for generate from paths, then you go to motion. And I would not use a one, but maybe 0.5, just a super slim thing. And go for a live preview and see how much that really S, which gets added over here. You can see that's not too shabby. So I'm going to apply that. But I want to make this not highlighted by the gradient. I want this to be like a fixed color. As you can tell by checking through these colors, this is not correct, are correctly set. So we go for, is this complete group here, which is the shadow group. We just filled with any color. We increase alpha fully and we pick maybe the background color, which is not the correct one. So now we need to figure out which one is going to be some, some color in-between maybe here and there. Also we got this area here. I don't really like them because they are sticking outside. So we need to do some slight clean up. Some of these are not needed. So we can select through them and just delete them because we don't need them. Like the ones which are below content, like this one is not needed, this one is not needed, and so on. So we clean up everything like from this, let's say three years effect goes. Rules, check them or see is they do aren't needed. Maybe we need to go. As you can see, there's a slight input or a slight change we can make here to this one, just so we don't have a gap over there. And check the other side, which looks perfect as it is. Again, select Rules, see which ones are used. This one is not used so we can get rid of it. This one is also not used, but make sure you have the triangle like the normal selection piece selected. So now we have this, this, this is not needed. And the final one is going to be the top one over here. Not quite sure about it, so I just delete it and see we don't need this either. So we only have to shadow areas, this one and this one. As I said, we can do the same for the backside if we want to as well. So also give it an extra shine. So we have more like a 3D effect. And that's basically it. What I now Miss is this part over here, so I'm not quite sure where it went. There it is. So I need to fill out where it is in which in which order, in which direction. But I believe, like everything is now part of that exit these pieces over here. And just need to see this is the backside. So these two are going to be all these parts here are going to be part of the emblem area. So I may make an extra layer and just name it emblem or whatever, and you can name it Ruby. Just want to put stuff inside this layer so I can easily make it on and off for whatever reason I have later on and can play around with that and put highlights in there and so on and so forth. That does look pretty good. So I like our crown. If you want to create a second one, maybe it was pulls on top billing from, I don't know, any fairy tales or something. Feel free to do so. Make more content over here, make some patterns, make mega beautiful, make it as beautiful as you like in place. 47. #47 Headwear Basecap 1: Welcome back to the course and this part, I want to create a base camp, literally just a super simple one. And later on, you can always go and extend on it. So currently, well, we just know the direction. So we just paint literally the basic shapes first and then we define and decide how we want to have the base cap. You can make the base camp, you know, just like straight forward. You can also go and make this like a hip hopper backwards. Loss of the campus is going to be backwards. And we see the closer, maybe over there, Maybe you're gonna go and create two of them super-simple up to you again as always. So I want to go for and just paint simple shapes and see if they would fit into our, into our needs. We know that we're going to have to paint into this direction. So the cap would be somewhere in this area. Probably. That also looks like, uh, like some other Kathy were like golf club or something. So you can also create all of these as well. So what I would start with is the base itself. So I ignore the ear as much as I can but still need to be, let's say Reza Khan, the vertex. So I'm going to start here. Maybe go first off into this direction. And the base curve is going to be in this area when this direction. So maybe I need to go. I mean, this is something I cannot teach. It's more like get a feeling for shapes. Take a look into references and see which one of the reference are going to or references are going to fit the actual needs on. Just go for it on, update stuff accordingly. So once again, don't forget the more points you have, the less control you have. So make sure you going to use, Let's say the current amount of points, not too much, not too less, as you can tell this one here might be the two huge or too much. Maybe I'm gonna get rid of this one. So I just want to get a feeling on how high the base can be and how huge does it have to be and so on. If you want to, you can also paint in some extra helper lines. So for example, like the front, like from a truck or something would be somewhere in this area. I'm going to use just an align tool here, and probably it's not visible right now. So I need to see where, where this thing is. Probably it's just an invisible to us rho opacity or stroke paint alpha, which it does not. So not quite sure if it even a bit even landed in the actual area over here. So I'm going to go for C Once again. And maybe it has I don't know, whatever fill areas. So this one is the area we're looking for. And I believe my stroke styles just one, not one millimeter. That's why. Well maybe we can also say the stroke size 0.5. So we get rid of that and hold Shift to just stroke. So you can create your own some helper lines if you need them, just to get a feeling of the direction of the copy of the base cap. So on some of the base caps also have this dot in the center. I believe most of them do have that. So again, feel free to use all of this content. All the necessary tools are given to you. You just need to make use of them. So I guess I'm going to put another, another point here and just get rid of the center point. And just want to see and which direction this may or may not go. And what also comes to my mind is a hat with those propellers on, which are I don't know what they are called. The base camp usually might go for maybe a bit more in the center and then we go and give it some lines and maybe some gradients from these areas here, like like an orange or maybe I could have peeled or maybe a cut orange, something like that. So the next line the next lines I need are the KP front over here because just with dad is kind of strange. It's more like a blown away basketball. So we want to go for an add more content. So I maybe go for that. I'll leave a gap for purpose. So I want to make sure I leave this gap at least for the moment just to see where our base camp or what the direction of obeys kept might be. So I'm going to try to keep all the necessary shapes or create all the necessary shapes. But something is missing here. So not quite sure what it could be. Maybe it's the colors which are just like, you know, when it's not filled. It might look strange. Maybe it's an ankle. So we can can play around with these and see where the issues could come from. Maybe we need to lift up in there. So again, look at a bunch of references and see where the issues might come from. Once again, if you need help, in general, you might want to use some kind of a silhouette. I'm workflow as we already have. Like, like we have started this course. Just create a silhouette of the content you may need and see if there are issues with the silhouette. And probably you'll come across one or the other issue you haven't seen beforehand. And it looks pretty much better now to us through this line is now going more like this way around here. If we wanted to, we can paint them even more of these lines. It's like one of these peeling lines literally, which is going to go from here to here and here to here. And I believe there are more lines. And doing that, there are other base camps where the line is going to come from, the center point. So you just need to decide which one you want to make use of. And as I said before, there is, there are some of these base camps which do have this little blob is on the top, like the actual knob where every, every SIM is going to be connected to, I guess, or maybe there's a hole or something. So you now again can decide how you want this. Maybe there's another one, another line going like this way. If you are going to connect all these lines cannot get rid of the outline from this one. If you're connected and see and take a look and see, does that look correct or not? Well, then it might help you in the long run, going to make this one white line again without a fill, you can go far away and see if that would look correct in general. And we may or may not have an issue with D view angle of the bird. So maybe we need to go well, reposition things more to the center, like the crossing. Some line here and there. Again, this is something I can barely teach because while you need to see and feel the actual content, if you go forward and zoom out, take a look. It seems that the base case might be to say how large and in its, in its height. So I'm going to see if I can use all of the pieces. Just select them all, and try to shrink it down. Just take a second look. I'm going to take this line here as well. Just take a second look and see if there are, if that looks better, which it made us. Now, you can go for the rest of the design now you can combine the pieces together and put gradients and content into the needed areas. So I would go and take this one a bit up. So now I can fill this was a nice gradient or with nice colors in general. I just want to see that I got no issues. There's a spike over here which might come from like spikes usually come from when the handles are going to be too close or maybe in the opposite direction, let's say as they should be. I got to be I tried something because of the ears. I tried to reduce the size over here or the side. So this point here is going to be at the back half of that area. And so I may need to go inward, see a bit which doesn't look too bad at all. If I want to and can even keep this one in a blackish scenario, I can even tilt this into any different color and shape and stuff as I want. And I can put all the all the other content over the inside. So again, this is a design decision completely again up to you as always. So I'm gonna make this May 1 be a symmetrical point which flows into this direction. So I just try to keep the directions and don't miss them out. I don't need this points. They are just making stuff harder. If you want to, you can use points or actually, let's say effects on those lines, like making them dashed or dotted if you want to. Like, for example, we can. Just select them all. And first of all, I would make them the cap being round. So when you zoom in, you can see these are now kept around. But we have also these dashes over here. So we can maybe try out multiple dashes and see which one wants. It may look nice, and so we can make use of that. There's another dashed line I want to see probably here in between. But I don't really have one. So I am not quite sure where the point is. But I believe we shouldn't be unable to hit it quite nicely. As you can tell, this one might need a bit more to the right. You can always see when you hover over these objects where, where the actual lines are setting and can update the content accordingly. So and you can also put the dashed lines like over here, which is literally just given a bit more of the actual 3D effect. Maybe you want to go for is thinner, a dashed line in general. So I want to make little extra dash or like a more rounded area here just a bit so it fits a bit more. You can go for multiple ones. Again, you can also put gradients in sight, the complete model or inside the complete acid. And you can, as I said before, you can attend it literally in any color. You please in like looks okay for me. Again, if you want to go for any other color, you can, as I said, can use gradients and general role, you can put highlights. You can peel this pieces separately, like separated, separate them all from each other. If you want to make one of them air holes or something, well, you can easily do that. So first off, just get rid of the stroke style again. So we'll just use a plain stroke. And now we can duplicate this, bring this in wards. And we go for paths and difference. Now they have the same dashed line size. I would go maybe make them a bit slimmer, maybe a point to and width. And now we'll do the same now for the dashes here may be because maybe later on we might not be able to see the dashes of that slim. So the question is always, is that fine if we are going to reduce this by, let's say two points here and two points there. Is it light on possible for our n of t to be visible that there are, these dashed lines are not just reduced it all, it looks a bit more clean, I would say, and maybe I would put a gradient over here so we can turn that accordingly. We can make a highlight area over there, can highlight this area, maybe make a shadow area here and so on. So basically this is just how you create the basic base camp. We don't need much more than this. If you want to. If we want to, we can increase this one a bit and bring it down. So it's more like where it should be. Even this one for either even for that when we can create a little, a little gradient and general gonna take this ring and duplicate it and maybe bring this also to the other side. You can also play some of these somewhere on the head area to do so. And you'd just duplicate and shrink them together. So and of course rotate them accordingly. So there are fitting in these areas where they supposed to be going to flip this over. Let's easier for me. And I can do the same thing once again. And let's say rotate here a bit. Well, I don't really like this one. Maybe I'm going to take a straight or an unknown squeezed one. All that doesn't look correct as well. Island now, you can decide if you want to use all of them or make use of them are not. I don't really like them. I get rid of them, but I keep these two maybe over here. So final stamp would be just color them. I guess we're gonna do this in the next video. 48. #48 Headwear Basecap 2: Welcome back to the course and this part we want to go and let's say give some shadow areas to the actual head over here. Now some let's say some issues maybe here and there. So go for it, fix them before we continue or before you continue. So everything it doesn't look like too shabby that say sometimes some forms may or may not work as they are. For example, like this area looks quite flat over here, maybe just because of this handle, and so on. Make sure they're clean it up everywhere. Now it looks a bit too ballsy use. So I tried to fill that out a bit here and there. So you're gonna go for it as well, just see that it follows the actual stream of the dashed area. And if that middle point here just doesn't work at all, get rid of the middle point. And same for the other areas. If maybe this area here outside is going to be, let's say two huge or something is missing. Well then go for it and update accordingly. As you can see, I've tinted the area so already so we can see stuff better on a black shape. It's rather hard to see things. So we have multiple possibilities to actually shade one of them, base camps. For example, we could create one or two shadow layers. Let's say I just tend to whatever we need and want. So don't matter. So we don't really need a gradient or something. I mean we can. But radians, they are the possible, are the problems was gradients is always the underlying color. But we can make a gradient here as well, but make it semi-transparent. So this is totally, and from now on is totally up to you. So how would I do this? Well, first off, I would duplicate one of them, Myers, so like this. And you can now create the gradient rather straight left to right, at least for the moment. We go to the actual gradient itself. But not to them but to the fill. And what do you want to work with is basically just black and white, at least for the moment we go for alpha on the other, on the one side. And full alpha, let's say dark on the other side as well. So when we double-click here or we create a flag here, we can go and make stuff bright. Now we can see the direction of the gradient doesn't really work, so we need to go and rotated accordingly. So the actual gradient follows the work on this area. We might have a darker area. So keep that in mind and you can literally do this for the wall had. What's now important is that we can reduce the Alpha for each of them. But, well, we need to put us or we may need to go over and do this on the phone object. So I'm meaning we need to go, probably need to go and select all of them at the same time. Or when we don't select any of them points, we just reduce the opacity for all of the pieces over here. So I don't know, maybe two or 50% or something. So what does it mean? Is it overlays domain color. So if that is a pop of color and we overlay this one over here, it still has the actual tin. I can use the snap tools to just bring it back to where it has been. But now we need to fill out. Okay, what is a good tone? And how much is too much? And what do we need to make this one really shine? Probably the center line here needs to be pretty bright or maybe not too bright and an O. And then we need to play around, even here with or without any colors. Maybe this is enter doesn't need anything. We just need to black and gray scale outside. So they are tinting over the main color. But the downside on that one is once again, we cannot easily pick the main color, but up to you, you can use the gradient as is pretty good. No fancy issues was that you can do the same thing over here. You just need to split pieces. I get rid of this complete, complete layer over here. I just select it once again and get rid of it so I can play around with another possibility, which is we just paint in whatever we need. So we just use simple paint tool and get rid of snap. So I have any, have no issues. And we can go and say this area over here, plus maybe this area over here plus this. All of that is going to be shadow area. How about that? So literally we would just tend to blank, give it the less opacity. And then we got the highlight here already. We can do the same thing for the other side as well. So let me just paint it in. For example, we go here, this is shadow area, maybe here bit, maybe that one. And get around over here. And so you can see it's super simple. We can just tend to or just basic Tinder, but we still have access or full access to the other pieces. And if you want to go highlight, well, we can. Now we just need to cut away not necessary pieces. So we first go for the, let's say, main object here. And maybe we also need this one. So maybe I got to combine these two together so I can say pass Union. And now I duplicate it, Control D and select my shadow area and say pass, well, what do we need? We need the intersection. And the downside on this one is I lost the front over here. So I need the intersection from this area here as well. So I might need to go and duplicate the shadow area also. So first off, I want to have the intersection for the front. Like so. Nope, not like that. I try again pass intersection. Well, that's funny. Let me let me once again go for the other one. So pass intersection. It tints it in the wrong manner. I believe this is the this is the actual issue over here. Sorry, I gotta make it black. So I still have the other piece. So you're going to take now this W k, If not happened for WK Control D, That's probably the issue I had before pass intersection. So this one here now it's going to be, we cannot combine these two together. So we go to pass union and so they have one attempt. Then we can also pull her and stuff like that if we want to. We now need to do the same thing for the opposite. So first off, I duplicate this and I want to have duplicate of the shadow here as well. Control D, select them. Bowls, pass intersection. Now I got this justice. There's other piece over here which is now once again tend to blue, which is this black area I need. Now I take this duplicate Control D and say Here also pass intersection. So I have this bottom shadow area here as well. Oh, there seems to be a gap. So I don't really, I mean, I can combine them still, like by Union them. And they are now together, but they're still separated. And now we can go in and play around with all the dots, give it all the necessary swing. We can also put a, let's say a highlight here on top. Of course it has to be white instead of black. And we go and get rid of this opacity, but use the other opacity here. Doesn't have to be too much. If you need other highlights, you can put them everywhere you want. Now the shadows, I want the shadows below the actual, the dashed lines. So I need to go and see where AI and how can I do this? Literally this dashed line needs to be above the shadow area. And that looks quite correct. There's one more missing as the other shadow area here is now missing. We're going to lift it up. Once. There we go. That's it. So we can now turn these into any colors. We can still go back to any grayscale color and we don't need to do anything to the actual, the actual design. We can give it bows, the same tint and so on. What I might wanna go for at the last pieces maybe also put something over here. Something like where I have an indent, a shadow area and maybe here, which I already show kind of with this shadow, Let's say corner. But as you can see, that's pretty crumbled. So I get rid of all of the unnecessary points there first. Maybe I can extend the shadow area just solid is more like a difference between the two points there. I've seen a point of a year I'm not quite sure of that is still available there, but it doesn't seem. So. What I can do is with dad, I just go paint in that little area over here and see if that makes sense. So I just select the shadow area once again and this area and just say pass union. I wanted to make sure that I select the darker area on the shadow area first. And probably I'm gonna do this from the other side as well. So like I make sure I've started inserted, maybe like this. Then I go down here and just close it. Now I go and select this two pieces, go to pass union. And I may be over there. This point. We can always go in and get rid of this areas, but I believe that's not too shabby overall. If you want to, you can also be a bit more precise With this area. Just clean it up a bit here and there. So it does make sense to the viewer. And you are happy and the viewer might be happy as well. So some colors might not fit these. So you may want to go for later on and update them accordingly. So maybe you going to make them darker already or you just, you know, tint them and tried to find the correct spot, let's say for them. So whenever, let's say I going to make these two fields, let's say red copy. We still get the, the actual, the actual pieces of a year highlight or actually get the shadow area. If you want to go for a second shadow area, feel free to do so. It's basically the same thing. So you just go in the backside over here. Be as precise as needed. Make a black see if everything would work the same way literally, you can also go and do this for the lower area. I would go for it like maybe up until this point. And first of all, I'm gonna go and combine these two. So go pass union. Now I duplicate the first shadow layer, duplicate, select this one and say pass intersection. So we got the secondary, a secondary layer of shadow over here. Once again, clean up the points you don't need. Maybe you need to, or maybe you want to go for and checkout multiple possibilities over here and see if you find a nice setup. If you want to, you can go with the darker areas, light a bit inward Z as well. As, well as maybe for this area here. See if it works. Doesn't look too shabby. Probably. You can also go and make this one even further like a goal for the complete siem over there. I select them both and say pass union. So they are literally fitting together. I might, I'm currently thinking of Mike go and make one extra, one extra shadow for this area here. It's a bit wonky, but that's fine. Just get rid of the pieces are of the points we don't need. Make them symmetrical. And see. It looks like there's another point here. So I combine them first. And same here. Just make this symmetrical. Just so I get the drive correct. Make this one a bit slimmer at this point, reduce and just fit to my needs. Once again, feel free to test it out, see if it works or is it not? If you want to, you can anytime put any other content here in the center, any logo, as usual. And this is totally up to you. You can make like a sticker. You can make like, I don't know, a baseball team, a flag of a flag of a country, and all the other good stuff. So feel free to test things out. You can make now multicolored since this color here is literally another color than this one, if you have kept, kept them split. So it can make a green cap. Let's try. Can make a green cap with a blue front. And works. And, you know, the colored tint once again works automatically here as well. I don't really like this bubble. So I bring this one in a bit. And that looks a bit better. So feel free to highlight things as needed. Maybe you're gonna go and close this complete shadow area. It might help out a bit here and there you might want to go here. And as well as we can tell, this shadow area has to go down. So we see the themes again. Maybe like this, I'm going to lift the CMAP multiple times because it also has to go over this shadow area. And now all the seams are going to be at the top and everything else is going to be below. If you want to have them inside there for free. To do so, going to make this one here is symmetrical one because I don't really like it and shorten this one away. And just to have a better shape at this point. And you can also go and make a small a small shadow area over here. I'm not quite sure if that looks good. Well, it gives a highlight. And once again, you need to decide if we want the silo to be there or even not. Delete the points you don't need. Maybe in the end, we don't even see them. We don t know. I mean, I don't know. And you might not know. I got to combine these two as union. So if I sound like this one, it's also selecting this one so I can always play around with the other points day as well. Don't forget to save and don't forget to save often. So you don't lose any anything you have created beforehand. 49. #49 Headwear Propeller: Welcome back to the course. In this part, I want to create the propeller head as I was talking about forehand. So basically it's not a different node or shouldn't be too much different from the base camp. But I want to maybe make it a bit smaller or bigger or something like that so I can define light on how I want this to be. So when I start is absolutely with the first symbol base over here, I go and make sure I have four alpha so I see why I am where I want to be. And so on. I scale down and see, maybe I want to have those like inside this area and this is like one of them peeled halves. So let me show you what I mean by peeled. That's really there's always a start point here and then it goes into either or one or the other direction, like for example, to a center point where the propeller has connected. Maybe go and go and give it just a simple other tend to we understand what's going on. So the next peel might be, or this pill might go like literally into this direction over here. We don't need to be too precise with dad if we don't want to because we can cut away and we should we have to cut away pieces later on. I just need to see how I want to peel this hand. In which direction do I want it like so that the peel is going to go where the center is in the background. Well then I can, I can also do the opposite. I can also go and make it more like a frontline appeal and so on. If you want to, you can always use the actual snap tools to get the corresponding points to be peeled. To be peeled too. Like, as you can tell now, we are trying to appeal the second area over here again, you don't have to be super precise. We can cut away pieces later. You can try if you want to. So maybe this one is, well, it looks kind of wrong. Usually this pure might go more into this direction. So one or the other pill might look wrong in the end. So we're going to have to fiddle that out later on. How is the size and where it's going to be the actual, the final peel area or the to be peeled area. There's also this little gap over here, so we still want to fill those up as it has, as it has to be. But maybe I'm going to go with this, this direction here first. Again, I don't have to be super precise. I can literally go now here I go for the furthest, for the furthest area at the beginning. And then we can close the lower end of the here, kinda rank. Those may be blue so we can see it better. And again, you don't have to be super precise. Just fill in the content. This one here is a bit too far away, so we may need to Bring it out outside a bit more like this and lift the outer area. We just literally that PCR a bit downwards and bring the point here a bit down as well. Again, we can cut away pieces later, which also means that maybe this green area is a bit too large. So we can start to peel things away a bit different. This one also has a wrong direction. Let's say it may or may not fit, uh, later on in this pieces. Maybe we will, maybe later on we even have to create multiple other pieces and so on. So next one is going to be like the area from here. I didn't want it to press that. So maybe I'm not quite sure about all these sizes. So I just eyeballed them in the first place and see if they make any house. And and I go four and close this anyhow first, because it's it has quite large and bolts and maybe make this one yellow. And that doesn't look too bad at all. So now I tried to find a good center point. I tried to select all of them and try to get them middle point here and the selection and only that they want to zoom in, don't do it over the points. And now we can move around these points and see where they supposed to be. Maybe I'm going to increase this area just a slight bit. So I don't need an extra color in the background, but that doesn't look too savvy overall. Now we can see, again, see where the center point might be. Play around with that. Probably it's somewhere here and then we can put the Pope parallel on top. So basically we just For any anything I'm not quite sure. Just take anything gray at the moment. Bring this down a bit. So on here we can put the propeller leaves, which probably is simply just some, some oval shapes. Control D to duplicate if you want or you can, of course, rotate them anyhow and shrink them a bit together if you want and replace them so they are not like straight but in any kind of shape. If you want to use for propeller has just come flow control D and, you know, make a sideways flip. Now the final part, once again, is going to be the shadow wing area or the shadowing point, which we just make two, just to stand out from the crowd. What I want to go for first is the bottom circle. I want to get rid of it. And I want to try to fit all the points, see a bit better and see if there are any gaps. I don't really like like this one. Just we just close the gaps and that should be good to go. The rent is underlying that blue, so it doesn't really matter where it ends. And if we have like a pill shape here, we can do that. We can use this as well. You could even put a fruit on top. Like, I don't know, make a melon or half of a melon. And that will put some dots, the good, a good green tint with the dots. And then you can tell, Hey, this is a melon and you can put any fruit in general in, into the play here as well. So the easiest way to paint or to make shadows, you know that already is we can paint them in or we can make like a directional shadow and so on up to us however we please. And like so first of our tank, this pieces here I'm going to use the normal selector. I want to select the center point as well. And I'm going to put them into, I need to make them inside an extra layer. So got to add a layer being the actual propeller. Let's try again as the current top layer. And I want to have all the ellipsis here. And the so-called Paso's going to make them into propeller one. So I don't select propeller one board like so I can easily hide and unhide things. I can lock things. And now I can just tinned this other parts here with my shadow. So basically what the shadow should look like, probably we're just painting the shadow like usual, just over on top of that thing. And maybe like this, make it black, reduce alpha. I mean, alpha seems to be reduced by whatever means, like one-point X-ray. So we just take a look how the shadow might look. Is it good? Is it not? We don't know. So I guess I would make a heart or heart more harsh peace over there when we want. We can also do a little set of array on the other side here as well. So we have more like a front light. And well now it becomes interesting because now we need to take this from this area and from this area and put them together as being one simple shadow. So what I want to do is I want to make sure that I'm not hitting the green area was the shadow was data set. We need to have a multiple shadows or guess because we want to go for the intersection, or we're going to bring the shadows down once, or to the very bottom. You're going to make a copy of these two control D and put them together as being one union. Now we take this and the union TPUs and then we say intersection. Well, our shadows below because we did put it below. So I need to put up above. On There we go. So we can, we can put an even furthermore shadows, as I said before. We can just say, Okay, we also want a shadow to come this direction. No issue with that. We can do this, can smooth that out. Just duplicate this piece. Now control the take the shadow pass intersection until we have the opposite on the other shadow area here as well. We just want to make sure that the propeller is going to be above the shadow area. So it's like not intersecting at all. We need to make sure that it is still part of the main propeller. And for these propellers, we might want to go and add a shadow here as well. And make this one even a bit beautiful if we want to. So you're going to take this Control D bring this one down. But now let me undo this. And maybe I group them first, so it's easier for me. So I take this propeller group, this one is blocked. Why ever? I mean, it should be grouped anyways. So I group the group and place this one down below, make this one black. Tint, this one just by 50 per cent or something. And inside this group I want to make sure that I collapse them all together so we don't have this weird things going on. And then we just cut away the things we don't really want to see in this, in our cap here. So first things first, I'm going to take all this ellipsis here and say pass union. So they're all one simple one single shadow. And maybe we want to, we can also bring this downwards into the direction where we want to see or not to see. Maybe I don't want to see the center here. So I can also get rid of it and cut away the things I don't really want to see. I'm not quite sure. Or I'm going to redo that and bring just the points from the center here upward. So I hold Control and bring them upwards. And now I can try to bring this outline points downwards a bit like these two and the other ones are not really of interest. This one here as well, maybe, maybe you're going to bring this up. Make them symmetrical. So it makes it easier for me. They're following more of the trend line, Same here and bring them up a bit. But make them symmetrical and polish them down. They're following the actual cap itself. Like a real shadow would be this point. Now I cut away everything I don't really want and need anymore from the shadow. Like literally everything which is outside of this, of this complete shadow area. So by the way, in the shadow area needs to be below the, below the main propeller over there. So I'm going to put this outside here first. I don't really need this sub folder anymore. This is my shadow. This one here is my main propeller. So I can later on tin things over there as well without any issues. So to cut away all the things, we probably want to combine the complete had ones. So I'm going to take all this single piece is CU, Control D pass union. So we have one thing. Then we take the propeller, but not this one. We want the shadow area and then we say intersection. So everything is cut away, but that in words, shadow pieces, pretty good. And now, as we can tell, we can make this one a bit more appealing over here. We can go into this propeller area and no ten things. Put everything we want on top of each other, make even any change we need, any change we want. You could even go and tinned all of these pieces, make them more black or anything. Squeeze them together and so on. Why don't I do like it as it is. So probably I would go for some shadow areas of here. Something like like this area here might be an interesting shadow areas. So we got a difference between the pieces. Maybe also this one here could be our shadow area. Maybe this one. Maybe this one here as well. Again, just be precise as much as necessary. So they don't have to be, I mean, you, you want to be precise. Absolutely. The more you get quality inside the NFT, the better. Of course. So I'm going to make this one here. This one more to the outside. We just need to cut away the unnecessary content in a moment. As usual. From the shadow areas, of course. So we just say these two or these pieces are now not part of the actual propellers. So I bring them down inside the area, like inside this folder here. So when can just single click one of these pieces, like I can take this and this, which doesn't really work at the moment, which is bad. So I might need to open this group in a bit. Let me just hide some things. So this is the actual, just a plain shadow area from the bottom. It's a bit bad. And so I cannot directly select the in part. Maybe I need to just go and ungroup this P is completely because the group seems to work different than a liar. So maybe now it's better. So I can only use a single pieces. And I can, I need to duplicate this piece, select the shadow area and say pass intersection. Here again, duplicate, select this little shadow area pass intersection. Need to duplicate this one as well. So like this pass intersection and the final one Control D. So like the Touche, the shadow and say intersection. So we got even more density in depth inside. Such a simple hat. If you want to add more content to the hat, feel free to do so. And yeah, that's pretty much it for a propeller hat, I would say, don't forget to save, save often and you're good to go. 50. #50 Headwear Updates: Welcome back to the course and this part I want to give you a quick overview on from what I have done without you, so you get an idea where to go. We will already be going about that. I'll talk about that. What you can create as multiple hardware for example. So what I did is I put it everything once again into my actual list of here of hardware. So I'm going to create, I have created the Japan, but Diana was 0 and the pops curve, the actual queen crown as well as the cylinder and the base curve and the propeller hat. What I also now want was creating was a beanie, which is one of these will have or something. Then we got the, I created a king crown as well as a red ribbon. So pretty quickly, Let's take a look what they are. And so we can go for the next pieces, which in my case are going to be probably glasses. So I can put some glasses on here, maybe 235 different ones. I don't know yet. But let's take a look. The propeller hat, the one you just notice or we were creating them Probably together is this one. Then I created a beanie. We can, or you can be as precise as you want. You can put in more details if you want to. You can make it any color and you can turn it into any color you want, please in leg. Then I created some headphones. So, so like a headset or something, maybe I can also put a microphone on here just to be as an additional piece of there. If you want to create it. If not, well then just not. Then I created a halo with the shadow area and the bottom over here. So whenever I activate and deactivate this to Halo, It's going to put this shadow directly on the hat. I just need to check if that also works for the other one line for the legendary. But as you can see, it fits in here as well. Then I created a king crown, which is just the opposite of our other crown we created beforehand. So basically I always use the same tools, are always do the same thing. Do you do your research? Take a look, see what fits a, see what you like and please, and create the content you prefer to see. And the final one was a red ribbon. So basically what I could do is create multiple other colored ribbons here as well. Which would be rather quick by just tinting the main color and probably some, some colors, most of them are shadow colors over here except the inner one and the, literally the outer one. So if I wanted to, I can just pick the single pieces over here and then just tint them accordingly. And then I can make a blue or green or red, a yellow ribbon, whatever I please enlighten, this could be even an additional content piece. So as you have seen, there are bunch of things you can create. You can create even further things you can make. I don't know, a magic and had or anything. Just go through other NFT collections, see if you can get some ideas of the day or maybe just search the web. And we can also go later on create some batch over here. Or as I said before, probably some cloth which we can put on, like maybe a hoodie or something similar. Again, all of that is totally up to you and you decide what you want to have in your NFT collection over there and what you want to offer to the people. We don't really need to talk about the actual rarity in its general piece. I just put it in some numbers over here, but they don't really care at the moment. We can later on, or you can later on go through it and see how they fit and so on. So later on we want to go for the glasses over here. This is what I want to fill into. Probably a goal for five to maybe ten different ones. I'm not quite sure. And maybe clause maybe not too much, maybe three to five, and then I should be in good shape to have enough content, especially when it later on also comes to body color and eye colors. We already got this icon has done, but I want to create some multisets for them as well. So one is green and the other one is blue as an example. Or maybe one is purple and one is gray. Something like that. Maybe two or three different of them, multicolor parents, maybe two. So in general, I'm going to have ten different i's times four, which is already 40 and so on. We were talking about this beforehand. Final step is, yeah, we just need more content in general. So keep on creating, keep on creating stuff. Think about what you want to create for your N of t is some users are using laser eyes and stuff like that. Lasers are probably one of the most common ones. Again, we can create some flames and elementals in general or anything else like that. You can be, the things can be super simple. They don't really have to be as complex. It's a general, a visual representation. So again, feel free to create the content you prefer, you really like and please make it as big, as small as you please in lag as well, we can maybe use this ribbon also like on a kind of glaze scenario over here. Once again, all of that can be done in no manner or actually just in a matter of a small amount of time, we need to put literally into our NFC collection. 51. #51 Eyewear 3D: Welcome back to the course. In this part, I want to create the first pair of glasses. In my case, it's going to be 3D glasses where one side is red and the other one is blue. We may or may not go with transparency. So we might want to see through the eyes in general, maybe we don't make it too huge. This is something we once again need to decide as well. So I'm going to just disable hardware in general so we don't confuse ourselves by having that stuff in the way. So what I'm going to start with this first off the glasses itself because you can make them round. You can make them as like a trapezium. You can also make them a rectangle like a rounded rectangle, or even a straight, like a hard edge rectangle. So we need to define first size and position. So let me make this one red so we can see what's going on over here. And I'm maybe make them like an opacity of 70%. So we can still see this row and we have a possibility to play around with directions and stuff. So as I can tell, this one is probably a bit too huge for me. So I might want to go for and put it next to the beak over here. If I duplicate this one and put this onto the other side as well. And I'm gonna give it a blue tint as it might be on My could be. We just need to decide where we want to have this and what the differences are, the distances between the actual pieces are going to be. If you go and look for references online or wherever you please enlarged, you might come across different ones. So just feel free to pick one and maybe let's see, try to rebuild them as you can see them over there. I also want to do is I want to select them both. And actually I believe it's not possible to set let them both at the same time, but I want to make them round corner glasses over here. So I literally just go over, maybe leave a bit more space over here. I'm not quite sure about this yet. And bring another new copy of their Control T to D to copy and bring this all over. If you want to, you can already implement the shine on the class, so we don't need to struggle with that later on. Simplest part, simplest possibility to do that is we just create other squares. I'm going to get rid of this and make this one white as wide as we can. And then we rotate it by 90 degree or by 45 degrees. But before I do so I'll duplicate this once again and I want to make a shrink diversion next to it. So maybe we have a big, shiny, small shine. You can also go and create multiple shines. Then I go hold Control and just rotate a bit and see where my shine could be. I could do even once again put in multiple shines over there. So nothing fancy. Now we're going to take this and that single pieces and we're gonna go for intersections once again. So I'm going to duplicate this once again, hit Shift, select the other piece, and go for intersection. So we have a shine on the class. This is a bit too heavy over there. We might want to go with like 30% or maybe 50 per cent. We can make it higher and smaller and play around with these numbers and see what is going to fit. Maybe 50% of this one is not too shabby. So next one is we duplicate it all over to the other side, see where it fits. Wanted to could put good position, might be maybe a bit more to the left, maybe even more to the right. We're going to see this a little slight cut, cut edge from the other side, though we might want to go for and put this together. Now we just need a frame around it so we can put it like over the beak, literally, which is going to be kind of a paper stuff. So for that, we simply just create another rounded rectangle multiple, and then we combine them with a middle nose piece. We can end the top stay rather strange if we want to. So totally, no issues. Let me create the white over here at first and see where we need to go to. And I'm gonna make this one full white and bring this just two times down. Maybe more, depending on how much actually we can go fully done. So now we can see how our glass might look later on, depending on if we're happy with the actual size overall. So I might go and extend here, but I'm maybe going down here bit as well. And yeah, maybe that's not too shabby overall. I'm not quite sure about the distances between them too, but that's fine. Now I'm going to select one of these Control D, take now this piece and cut out the actual glass. So I go for path difference, so we can see through this, but this part here is going to be solid. Going to do the same thing for the other side, pass difference. So now we can see through we have a frame. And basically we just need to now implement the nose piece and maybe one of these sides over there. If needed, up to us, we can decide anytime how we want to design the content. Before I do so, I want to reduce alpha for that and see where the actual beakers going for. So we might, since we have multiple different beaks, maybe we'd go like up until the center point here to paint out this, the point of interest on the part of interests. To do so, I might want to go and just just painted in here and see if that may or may not work later on. Got to make it black so I can see it better. That almost looks like a beard. So if you want to use beard in your painting or in your NFT collection, use beards. Might look funny. Nobody knows, right? So I'm gonna put this one here but outside. So it's wrong, rounding up a bit down more here. Maybe I'm going to have to increase it a bit further. So I have more like the initial shape or the flow of the shape here. I'm going to bring this one up here a bit as well and maybe shape it here a bit rounded as well. So it's fitting like at these two round corners there as well. This one here might not be the best. And maybe this piece here has to be more centered. I'm not quite 1% sure, but I believe we are good to go. I got to select these two now and say pass in difference. So we have a free space, then we can increase Alpha once again. That doesn't look too bad. We could, if we wanted to just check out with different beaks, like currently we got the long beak, but we can also check with the small beak and the broad beak. If we don't like it or if you don't like it, you could even lift this glasses up. But what I see is there's like a little, maybe a little too much of an offset here with the center point. So I just reposition some points here and there. So I might go and use the lung bleed peak again just to see how that looks. I don't I don't really hate it. I mean, I believe it's good. Why not? If you want to, you can lift also the complete glasses over there. So basically we can lifted above or a leg up over here so nobody holds you to not do it. Like for example, we can put it like, let's say over here. So if we are going to use a small beak, we see that on the broad beak, we gonna be able to see that as well. So absolutely, anytime and anyhow possible, no matter what, maybe I'm gonna put them here. I don't know. I got to block the beak again or the block. They are blocked already and just keep the peak SDR. Now, I want to put like the left side over here. So basically just a straight line or more, maybe two from this corner piece. We can also go from a sideways part and just decide how big we want these pieces to be. Maybe like this. We could also go from the opposite side. Just go straight down first. And then we just fill this gap areas over here and our glasses is kinda done. If you want to. You can also put this this year down areas bond. I believe our owl may or may not or will not have that. If you want to, you can also leave some gaps to the border. So it might look a bit, Let's say better. I don't know, up to you, you can decide if you want to cut this directly on body or not. You can also, again, keep the gap over there. Might look nice later on. If you don't like a gap, well, then just don't produce one, right? Then I put this a bit to the side and leave a little space in between. Maybe, maybe it's not too shabby overall. And our first-class is literally now as done. I mean, we don't really need much more. If you want, you can put it in again, some shading over here that goes back a top down shading for the shadow itself. To do so, I would just make a rather straight one here. Nothing fancy. Make this one black. And maybe like 30 to 50% opacity or transparency, however you like to name it. I control the this one and cut away the actual part. So I'm gonna go for paths intersection. So now we have a straight down shadow area. If you want to have a second shadow over here, feel free to put them in. It doesn't really matter at all, I guess so. Well, this is how we can create multiple sub shadows. As you already know, we don't really need shadow over there. I don't really go for anything else. I need. Nothing. I guess I could create a frame around it. So maybe like a backside looking frame to the top side. Over there. For example, I duplicate this main piece and just bring this inwards slide a bit. And I make this one a bit gray to see where it is and bring this one down. So it's like under the original one, like here. So we can now see that we have now just a slight gray frame here. So it's got some kind of thickness. If that is not, let's say dark enough, we can always go and tint again and so on. We're going to see a slight one here in the center. If you don't like it, get rid of it. And this one here looks good as well. If you want to do the same thing for this side over here, feel free to do so just duplicate this piece, bring it slightly up, and pick the color from this one. And now we just bring it one downwards. And there we have it. And if the settled area doesn't match anymore, well, you can once again, you can get rid of it or just keep it up to you. And same for this side. I'm going to duplicate it. Bring it in words here a bit as well. Pick the color from here and bring this one absolute down. You have like these gaps over here. Feel free to close them. Like I'm just create a new piece from this corner to this corner. I'm going to just select here and snap to that positions, like so. And then I combine these two together. So I just say pass Union and this piece should be filled if everything has been correctly connected together as union. And so we don't have a gap anymore at this point. And same for the bottom side here you want to put it in the same content. We just create a new one. We snap to the actual corners, does go inwards like this. Select this lower piece over here and this piece, maybe there's a gap, so feel free to check against us. And then we go again to pass and Union. And so does God. A death here as well. If it needs one here, which I believe it shouldn't. Well, no, that's good. Maybe you need to put a gap here or close the gap here between these two points. Feel free to do so. Just select the bank side as union and everything is good to go. Again, play around with shadows, integrate on, put in any content you prefer, any content you need, unlike, don't forget to save your work. And the first glasses complete. Pretty good. So in the next one we can create some other glasses, maybe sunglass and creative and more content for free to do so even without me. So fill in and create a bigger collection again of a bunch of classes, C0 or whatever you please. And like, of course. 52. #52 Eyewear Eyepatch: Welcome back to the course. In this part, I want to create another eyewear, which is going to be a patch and like from a pirate or something, we can first off, decide if you want to go for the left eye, the right eye. We could even create both sides and two being map I patched. So first off, we just need a simple triangle shape. We can use literally any shape we want. We can use anything we like. And please, I disable the actual snap settings so they're not in my way. We can define later on how big we want the iPad to be. It can be like literally over the complete Open AI and so on and so forth. So we can define literally how we want this to happen. Since the background has been huge or is a bit huge, I had to disable the background so I can work freely over here. So what I draw as Justice, simple, basic shape, which is more or less like a shield, I would say. And you can always go and look for references and so on and so forth and see how you would create an iPad. So I would probably go with such a design like this one. I can once again decide if you want to go for the left eye or the right eye. We can use both, literally doesn't really matter. And if we create one for both eyes, which might be even better because then we have the truly two different types of eye patches to offer. Then I would go and make something like a closer here. So basically something which is holding the eye patch on one side. And then I close this one here again just in case. And I want to see that it is matching 100% our outlines of a here, and maybe need to fiddle around here and then see if everything is in our needs. And so if you are happy with the left side, you're going to do the same thing for the other side. Like we could also go and put this on NYC from here to here, so we don't need to go over this I here completely, but maybe we go to one of these positions over here. I would go and create or tried to create the same size as I do on the other side. Maybe close up until this point I need to go and recruit, reorient the actual handles anyways, since they are quite long. And so I can take one or the handle of the handles and just smooth out the actual result. And if you want to, you can even create some kind of a bone shape over here. So it's not like just the actual eye patch, but maybe we can create some kind of a, of a head bowed niche thing with maybe no eyes in the center or maybe we're going to do it like this way. Or without any peak or maybe with a beak or something similar. Just to fulfill this quiet area or this small area over here. So what we could do with that information is we literally just eyeball. We don't have to be super precise over here. We just eyeball what the skull of our owl might look like. So maybe we go and take the beak wizard or kind of the beak just as a basic shape over there. And then I go and round this up to fulfill this area. So maybe this could be kind of our actual, our shape or the actual shape for our for our skull. I'm like for an hour skull if you want to use the skull, you can bind also create a skull. Our field like to I would also go for and see if I find a good size of the actual eyes. So where an eye, a whole would be, since, well, we probably don't really see everything of that. So that doesn't look too shabby. Probably. I need to go and do something with the beak again. And maybe we also need to do some indent over here, but I believe not. I just take those two and say path difference and do the same here, paths and different. So we got the eye holes and want to make this shape white. And there's a little hiccup over here. So I make this one here. Maybe a bit more roundish. Once again, you can make an owl no, just bones up to you or anything else. And I would go and put this like maybe here. Just to be, you know, like, like what pirates are. We can also introduce something kind of a bone shape. For example, we just I mean, we don't really have bones on not, not like that, bones in in births, but well, we maybe can make use of one of these things here. And we can just see if that design would fit in our case. We can also control D duplicate and flip over and bring it to the other side, which may or may not look good. Maybe maybe this isn't a bit more or too much looking to the right. So we might want to center this one out over here. I'm not quite sure. But I believe I I will just get rid of the bones here and just make the skull thing maybe a bit bigger over there. Basically that's everything. About an hour maybe looks like if you want to make some kind of a bone chain or something for free to create one. Maybe. I don't know how that might look over here. So literally something like that. Like if that would be the actual spine, we might want to be able or mu we might be able to use something like that. We could also try out, I'm scaling them out What's a bit and the bit down. So we just have the pure spine bone maybe later on. And like like from the ribcage. And we can try to like, make a difference over here so we get, I don't know, some kind of a bone shape over there. I Control D this one and shrink this together, hold Shift to go inwards. And try again and see if I can shift. And once again, I'm not quite sure how that might look over here and lifted up maybe. And also this up here as well. And so we got a, we got a goddess special over here, like an eye patch just for that particular hour. Or we can do is once again, we can copy this all over to the other side and literally flip over these two pieces. So they are also matching into the other area. I also want to check if the legendary, not a bio background, but the legend better in dairy body would fit the design which it probably does. Yeah, that's looking. That's looking okay. It's kinda close to the arm, to the ear over here. So I may need to go a bit sour a bit more down here, just not too much. Just a bit to make sure that it also fits one per cent. They good for the actual legendary hour. And we can do the same once again to the other side without any issue. So we can say this is an eye patch. In our case, it would be the left side. So we make an L maybe here, and we can duplicate this and rename the copy to be in our eye patch. Just rename it to be r. And now we can take the main pieces, like including these things and bring them all over. I just hide the L1. Bring this over to the other side. Like so. Then I take these two, flip them over in a group or as group and see if they would kinda match over here, which they suddenly dawned. Which is okay. So we just try to eyeball how they might match. Then we have another, you know, another orientation over here. Look, it looks different, Definitely. So we're gonna take these. And now these two need to be like maybe over here. So we have now a right-sided eye patch and the left-sided eye patch. So we have literally two more traits, two more things. If you want to, you could even go and split this one or just shift this one over if it looks good. Well do it. If it's not well done, keep it as is. And that's pretty much it for an eye patch. We can, once again, design wise, we have a bunch of possibilities. We can put in anything we want. As usual. If you want to put any extras pieces in-between the spine areas here free, free to do so. Nobody holds you back. 53. #53 Eyewear Sunglasses: Welcome back to the course at this point, I want to create some kind of a sunglasses. So I'm going to create a new layer over here. And the sunglasses, we can design them again as we please enlighten you going to pick one of thousands of different designs as you please in like, depending on how you want your owl to look like. Let's say, I'm going to start with just some basic shapes here. So maybe it was a circle. I'm going to make it black so I can see where I'm currently looking at. But well, most of the time glasses are not like this. Well, some are, but not, not all of them. So I'm gonna go and make this object a pass. So I just convert it to a power so I have more control over the actual glasses over here. So we can go for more like a 70s or 80s glass if we want to, we just need to shift around some pieces. So usually there are some indent over here going on. And maybe like it is usually going up here a bit more than here on the outside. We can later on decide how we want to highlight things and how we want to or even not. The same is going to happen to the actual frame of the glasses. Let's assume we're gonna put these glasses on to. Or actually we just say that the fill of the glasses is going to be like semitransparent or something, maybe like that. We're going to see better where we have to go to. Also, I want to duplicate this and flip it over and bring it to the other side so we get an idea what the owl might look like afterwards. If you need to squeeze parts like left and right and what's on wards because of the direction of the eyes themselves or of the size. Feel free to do so. Going to put this maybe a bit more in the center. And now we want to have some kind of a frame. You can use any kind of frame, something super thin over here. We can use something super huge and big. The design decisions, once again, I'll completely up to us. Usually we can start maybe on one side over here and we just go around over here around the glasses, put them anywhere together. And tried to find a good design for a which is going to fit our needs here. And on this side, later on I want to maybe put in some extra. We're gonna go through that. I'm going to try to be precise. We need to fix some points in there anyways later on. So just try things out and just create a simple frame like this. If you're unhappy with the result for free to upgraded accordingly. And this one is not going to be transparent later on. So we can make this one for blank, for red, for full, any color of our liking. I'm going to make it super, super bottom one. I duplicate this glass here. Control D, hit the frame. And then I say difference. So we have the frame without the glass itself. We're going to do the same thing for the other side. Hit Control D, select the frame as well with Shift, and hit the front. So now we got, well, kind of a super 80s glasses over here. If some of the outer frame is not matching one or present, updated accordingly, maybe some areas a bit bigger than the others. So you just go round and see where you can update things accordingly. I'm going to make this point maybe a bit more straight here because I was missing a handle over there. And maybe you're going to shorten this area so it's a bit more like this one. But there's this little Aggie shape, let's say. And maybe I can just reduce one or the other side over here. So it's more like delish. Now we just need to, as before, just put in like with any other kind of things. So the actual classes are going to be around the hat. We can close that. So we have a, can create some kind of a ballsy area on the sides or on the outside, like like this one. So it's Mike at the correct spot. Let's say we want to do the same thing for the other side. If you want to go for, you can directly go straight under the ear. We just need to keep respect. Literally. This was wrong. We just need to respect the actual direction of the hat and the glasses and probably we need to update the size of it. Of course, we need to update the handles are closed at both the area again. Now see where I need to update certain points like this. Bottom area over here may need a bit more of a thicker frame. We're going to see and compare with the opposite side and see if this height over here is kinda the same height as that, which it obviously does not. So I'm going to lift it up a bit. And now we got kind of a sunglasses. Well, we can do is we can put in some highlights on the Sung loss. So maybe in, let's say white, but not as much white as needed, or maybe not as much white in general. We can also put this highlights over here, or we can use stripes as we just did with the other glasses, like was the cinema glasses or the 3D glasses. So you remember how we just created them? We just created like some squares over here and another one next to it. Like so we trimmed it together. And then we were just rotating them so we can duplicate them for the other side here as well. And we can actually, before we do that, we want to rotate them accordingly. So I'm gonna pick these two, hit them once and rotate over and see where I want the shine to happen. It can be literally anywhere. It doesn't really matter. Now I'm going to duplicate this all over because this area on the other side might be different. Now I'm going to duplicate the glass Control D hit one of them shines on psychopaths intersection. Duplicate the glass Control D shine pass intersection. Same for the other side. Control D hit the shine pass intersection and the last one duplicate the glass once again and intersection. So now we got some kind of a eighties style looking sunglasses. What we can also do is we can increase or decrease the opacity of that up to us totally. If there are any issues with the glasses themselves, make sure you fix them. So like if if the beak is not really nicely seen, let's say, or if there's something to think or something is too small and so on, just go for it and updated accordingly. And so now we got another eyewear which we can put on our actual hours. If you want to go for multiple colors, for example, you can, you don't have to make it a blank one. You can go for, increase that and maybe make a rent one or maybe make a green, a blue, or whichever color you prefer. So basically there are no limits and general rule. You can also, once again just go for black. 54. #54 Eyewear Updates: Welcome back to the course and this part I want to quickly go over what I've created without you, so you can create stuff like that as well. We don't really need to go further into details since most of the techniques I have shown you in the past couple or even all of the videos over here. So first of all, I created those feathers background of the year as I was spoken, talking about beforehand. Just create one simple feather, then create a copy, create a blend for that, like a blending or like a blur effect for one of them. Further pieces and the background, of course, make any color of your liking in the background like this square, for example, being black or any other color you prefer mum you make, I don't know, maybe something pulpal or maybe some gradients and the background totally up to you. What I also created a bit more eyewear in general. So you can see I have created some after the sunglasses. So when I create it as something like shutter glasses, you can go and be as precise as you want. You can make them smaller or bigger, like the distances between them things I literally just copied over the sunglasses over there and just, you know, I'm doing the thumb and of course fiddled them together just by making them uniform. Then the next one I created were some star glasses, so nothing fancy over here, just some simple stars. You can find stars over here on the stars and Polygon tools just playing around with the settings. And you will find the trolley roundish, roundish stars so possible to be created over there. Just do some lines here and there. Just to make this one glasses. I have created the same thing basically, but with a heart. In this case, I just see there's one color, not 100% the matching over here. So I just need to find which one color that is, which is this one. So everything is going to look the same way. Also, I created some shadow area on the bottom, so I'm highlighting the top. So basically design it however you please. Unlike then I created some kind of a VR glasses. So basically the same thing. I just used the normal outline, a double gradient over here, used the black pieces over here. I just once again use generate from past in motion with a four in-depth over here. And of course I made this rubber band over here or this whatever the span as just fill in this area, make it as huge as necessary. And as you please, unlike the final one, I was creating some kind of a single glance over here. Maybe someone chain can be created on the side. You can also once again do the same thing for the other side around over here. Just put the glass on the other side. Nothing fancy overall, maybe a bit easier to see what I get rid of the background. So you can see there's just a black part here as well, where the chain is literally going to be connected. I don't go with intersections and stuff like that because they're probably so small that we don't even see them. I'm not quite sure about the size yet, but this is basically what I have created so far. So in the end, I'm going to have nine different eyewear and I could even go further and create more. And you should do as well. So you have a bunch of things you can pick from as well. Or actually the generator can later on pick from. So you have multiple of these possible I worked over there. You have multiple backgrounds later on as well. Once again, the feathers background as part of legendary. We're going to talk about this more in a bit. So sensory or close to, I guess, uh, close to the final parts over here. If you want to once again go forward and create some cloths for your owl over here or maybe some other gimmicks and stuff you will please unlike maybe a batch, maybe a sharp shapes. Maybe give that a character, character sued or anything. Maybe you just have black suit, black men and black or something. If you want to go even further steps, you can also forehead where you can maybe create helmets, like a helmet for baseball or a helmet for rugby or like football, or maybe a helmet for hockey. Like one of them masks like this, hockey masks and so on. So there are a bunch of possibilities for you to create. You can even go for something like from the DC or marvel university if you'd like to have an Iron Man mask or anything else, just feel free to create them and make them a bit different. So they are not really want to present a copy of our men so you don't get any trouble at the beast. So the final step, we can go and think about what we need anymore or what we need on top of the continent we got. And if we have enough backgrounds, we literally can start to create the first basic colors for the owl itself. So if you haven't done this one yet, you might want to go for it, like pick up to maybe ten, maybe 15 different colors you please unlike and create a color palette for that. So it's later on easier to pick if we go for the actual, if we go for the actual extraction or the actual export of the different pieces over there. So since that is not a gradient overall, except you have created one, you might want to go for it and just create a color palette first. And then you just pick through and see how the bodies are going to look for. This is where we're going to go for in the next video. So creating the color palette so we can later on export them all with the same color or different body shapes literally was the same colors are the same color scheme. We can rename them or name them accordingly once we are starting to export all of the body pieces and then we're good to go. 55. #55 Body Color Palette: Welcome back to the course and this part, I want to create some kind of a color palette for all the body parts, like literally just the base color. Everything else is like an overlay color. So we can later on, when we want a tint content, we can just pick from the color palette and choose whichever colors we like to be exported. The more colors later on we got, the more hours we are able to create. Of course, when we go to one of the bunny ones, we want to make sure we have not blocked it. And basically it doesn't really matter where we put this. Maybe we're going to create a new layer just for the palate and arrange, rename it as well to be a pellet. So inside this palette, we just create a simple, like a sample square omega blank. And basically this is everything we need When I also want to make sure it's 100% that the fill is going to be not 0 alpha or not any other number, but 100 alphas, same for opacity. So we'd later on don't have any, maybe some weird, Let's say continental, weird colors. So I'm going to use the color picker and pick the first one, which is going to be this owl color. I want to keep this in my collection so I want to make sure I have this one pallet piece over here. Then I duplicate this content or the actual square, make unable snap. And I can do this multiple times, like maybe five per row or even more. It doesn't really matter at all. I want to make them all next to each other. So I now have four going to copy another one. So I have five at the first place, gonna do another copy and bring it down below over here, we can also leave gaps in between. It doesn't matter for the pallets. Now, what I want to test this, since I have the main color I don't want to waste in general, or what I always want to use is this base color over here. Currently this legendary piece, like the body part over here is going to be selectable and centered is locked. We just need to make sure that we unlock this one at the moment so I can pick them separately like just that part. If they are grouped as they currently are, I might want to go for and ungroup it. So I can simply test, or actually it's simply a pink, the actual main colors over here. Now we can go through the complete color palette and pick any color of our lagging and see which hour with which color is going to look pretty much like, have a decent look, maybe something a bit darker, red for example, I really like this color. Also take a look into all the other colors, like all these shadow colors and so on. And if the look is going to be how you may like them to be, we can give it a bit more power. Maybe here inside the color, once you like it, select one of the actual trying out squares and pick the main color, the one you want it into, body width. Now we go and do this for all the other ones we can go. Maybe it was an orange one. If you like orange or if you'd like to see orange in your collection for free to use it, maybe we're gonna go a bit right over here. But again, just test it out and see is it looks nice or not. I would go a bit more yellowish, reddish here. And if you like that, again, just pick the color and put it onto one of them squares. Next one, I want to have a wide our Definitely. So I want to test this first. So I take the color picker here first and see how YE to do. I really want the owl to be, I mean, there are the others, a white overlay areas here. So I might not be able to use 100% white, but maybe it's some kind of, let's say, gray scale to be picked. Maybe I cannot go fully white, which is not nice, but it's okay. So I might want to go with this gray tone over here and maybe I'd give it a slight yellowish tint before I test things out. Maybe you just just to see if that makes it a little difference, which I assume could be somewhere here. Maybe like, you know, like color or something similar. Maybe unlike this one. So I'm gonna pick this color null in here, and so I have four colors already. Now I can again select the body of the main body piece and goes rule. Let's see what green color could I pick here? That one looks pretty good. I like that if you want to go for more saturated welfare free to do so, just to give it a bit more beef. But I believe I like this one, so I'm going to use my color picker, my eyedropper, and pick it. Next one, I'm going to select it again. And now we can go for something bluish. Well, that one looks pretty nice as well. And I may need to go forward and give it a bit more beef hand. But I really like this color. So instead of picking this one, I'm going to go in the next one. Pick this color. So I have it in my list. Once again, you can do this, can repeat this process for every color you come across. I want to have the dark blue owl definitely. I just want to see which color it could be about. I want to pick colors which are nicely presented. Let's say they are not like full colors, like super dark black or something. I want to have more like a different shades. I want to see them shades. I want to see that the beak, for example, like it pops out of this. And so it makes the complete our way more. Let's say nice. Gonna pick the body tinting again and take a look for problem one. This one looks also pretty good. Instantly. Can take this color from the main body and put it in. Maybe we're going to have something super pink over here, but maybe not as much, maybe more like this, maybe a bright one. Not too shabby, I guess. I could even go for a super pink, actually, no worries about that. So you feel free to pick any color of your liking. We got a red one, so probably I really go for the super pink one. I don't want it to be like super popular, like this one. I want to maybe have a different scheme or theme. I believe this one is a nice one. It, it's popping out, but it's not like to have in it the same. So what all of that now means is with this color pellet, don't forget to save, by the way, was this color palette. We can now easily tend all the our bodies in literally in no time and export them accordingly. We literally just disable all the other layers we don't want to see but the bodies and then hit the Export button. So we just can pick through all of them and export them rather quickly when it comes to exporting. 56. #56 Calculate Amount: Welcome back to the course and this part I want to talk about pretty quick what we have created so far. And if we aren't able to create at least 10 thousand pieces. So how does it work in general, is we're gonna take all the content we got and multiply it just for the basics. We need ten backgrounds where it's where we haven't yet talked about rarity. But in general, we need ten backgrounds. We're going to have 40 body shapes in general. So for d, which means for normal shapes times the colors plus one, I'm going to put the golden one later on as well in this collection. As well as like for each of them of course, going to be golden one. Then we're going to have the eye shapes. So for different eye shapes times eight colors is going to be 63. And then we got three beaks. And all of the actual collection pieces over here, all of them need at least one of everything, which is the one where we can start to calculate our content width. So we say times ten times ten of the backgrounds, times 40 of our bodies. Like in all the colors, we have faulty colors in general, of all the bodies in general, times the 36 over here times the eye shapes and times a three because every you need to beat as well. So we currently should be able to, without playing around with rarity, we should be able to create or generate 43,200 of pieces inside this collection. If we have no rarity involved, if it comes to reality, we need to do the calculations later on a bit different meaning. For example, specific backgrounds may have only at ten per cent chance to be inside this collection. So it reduces automatically the content. So what I have actually showed you beforehand is when we go to this background area, I have maybe this moon and I have this feathers. And we're going to play around with, let's say, the actual rarity inside this complete layers. So we need a full amount of 10 thousand and we say, okay, each of them gets a rarity of 16%. So each of them, which is in total, or should be in total, 80 per cent. So all of them topped up together. So five times 16, we can go over that. 16 times five is going to be 80. This is like 80% is going to be the first five. Then the next three are going to have, each of them have five per cent, which means each of them is going to be five per cent, or this total is 15. So all of them together is already 59%. And then we got this one here is going to be four comma 75 per cent in it's super rare rarity. And then when we got the moon, which is going to be the legendary one, which in or which should only use 25 in the total conflict collection. So basically we can do this, literally, we can do this with everything we want with basically the same thing. So what does it mean in general, like for all the normal body shapes, if that is possible. We're going to talk about this later on a bed. And each of them is going to have also different colors. And I have no idea what I have picked here, but I just choosing the colors from here so I may or may not fit into this over there. And what I mean by that is like, for example, if we have 80 times the normal body shape and then we have a skull and so on. All of these are going to be probably a bit more rare or not. It may or may not make sense. It May, might be better to just say, okay, all the normal bodies or the bodies in general. So we don't go for rarity and body shapes in general. But what we go for gravity in colors, but they can have any kind of shape literally. We can say the red color for all those full body ones are going to be 16% and same for the other ones, but the golden ones are going to have still the same possibility for all the body shapes inside the golden color. But only 20 in total might be inside the collection later on. In this case, it's going to be a bit more. It should be somewhere twenty-five percent as usual because this here needs to be then 10 thousand as well. So all of them together should return an amount of 10 thousand. So basically it's the same thing as we do have here on the background side, because every hour will need to be inside. If you need more ideas for colors, you can also go for glasses or for Ruby, or any something specific or other colors of the other color schemes. You could go even play around with gradients. I shapes. We are basically doing the same thing. Each of them need a nice, So some may have one. I am more than the other, but we can, again, same thing as we do with the body and the body shapes and colors. We can do with the eye. So basically, we got a dark eyes with all of that. So each I could be a dark eye, but we don't really care about what the actual view of visual of the eye is, or maybe we do, but when later on just need to differentiate. So we can say, okay, we got four different eyepieces, so just pick any random color. We don't have the Maltese yet, but maybe we can implement this in a bit. For the beak. We just have three beaks, I bet. I believe so because I got rid of the normal one which I didn't really liked over here. So feel free to create more beaks, maybe coloured a beaks and so on and so forth. Like from the small beak maybe there's a gray and an orange one up to you. Just tint them. Super simple, nothing fancy as you know already for the necklace, the same thing. And probably we're gonna do it so that only 20% of the complete collection might be able to have one of them. And then we can also say, okay, some of them are rarer than others. So we just need to see what is 20 per cent is 2 thousand off the complete collection would get, I'm one necklace. But we don't know if they were to have a head where we wouldn't even know if they would have glasses. I haven't listed them yet here. And also if you want to go for specials and so on. So what does it tell us in total? Is that with the content we already got over here, we can create over 10 thousand pieces, even if some are going to be more rare than others. So like if we have some legendary ones of K, they're going to be inside this collection just a maximum of 25 times. And others may be more or less inside this collection. So we tell the generator, we are going to use later on how we can generate this content or how he should use that and how to tell which ones of these are going to be more rare than others. So the generator can do its work properly. So this is basically everything I wanted to make sure that we wanna percent have at least 10 thousand pieces, no matter how much hardware that we are going to put on. Maybe later on we can say something like Okay, maybe 20 per cent have a hat, 20 per cent have eyeglasses, 20 per cent are going to have a necklace, and so on. 57. #57 Export Bodys: Welcome back to the course and this part we want to export all the body parts with all the unnecessary body colors. So as you will remember, we only want to tint actually this piece over here. And we just want to sort them. Well, in whichever way we prefer, we, each of them are going to have a body and our folder structure is going to be like we have the background as well as we got the body over here. So we can now define how to name the actual body parts. Why is that important right now? Well, Let's assume we have, and this is what we do have. At least I do have, we have 11 colors. The golden ones are going to be the legendary ones for me at least. I need to define which ones are going to be more rare than others. For example, all the red body pieces might be, let's say super rare or whatever and maybe other colors. And I have to define which ones are going to be ran super rare or even common. But there are issues. And the issue is each of them bodies is going to have a different shape. So how do we name now? So the, the, the generator later on understands that we have four different body shapes plus all the different colors. So probably we're going to name them accordingly to the body shape and then the color. Or we can do this, the opposite. We can say we have rat body with a normal colors or with a normal shape. So the naming convention right now is going to also be written night on into the meta-data. So whenever somebody is going to look for a normal body width, and then with whatever a certain color, this is not going to be splitted into multiple. The same is going to happen literally laid on also with the eyes, since we got four different types and as an eight different colors for these eyes and probably use some extras with these doubled colors for multicolor eyes and so on. Like one is yellow, the other one is purple. Which is going to be something else over there. But they're going to have different shapes. So they have like we have the skeptic one where if the board when we got the open one and we got the whichever one, I don't remember. Actually, we need to take all these shapes and put them into corresponding folders and let the people know what type of eyes and the corresponding color of their eyes in the collection are going to be like if they look for something super specific, they are allowed to search for certain iPad. Same for the other traits later on, but for the body shapes and for the eyes, this is the most important one. They don't feel the beat basically is going to do the same except we have just single colors. So simple single colors, like where we got the broad beak, but we maybe don't have any colors. Specific beak like this one is orange, this one is gray. If you want to put them in for free to do so nobody holds you back as usual. And maybe I going to do this as well. So we have literally like three orange beaks or maybe four and three or four gray ones. So we got a bit more of a mix. And the system has more things to be picked from or to pick from in general, for example, we can make it so that the broad peak is going to be a bit more and let's say rare than another beak, literally. For the body shapes, we're going to start with this one right now. I'm going to open the actual part of a year and I got the palette. I need this because I want to create the golden one at the very end for the legendary. But for the moment just, let's go for the common over there. So we got a common body shape, which is going to be, well, just one thing. We don't really want to go for wisdom, shapes as being maybe rare, super rare, legendary, and so on. But on the other hand, we could like each of them over here, could be legendary colors, but then it might be hard for the system to pick them enough. So instead of using common, super rare, and so on by, by shape, we go better for colors. So we can say this for the first five colors are going to be common colors than we got. Maybe those two going to be maybe super rare or rare. I would put them into rare. Now, maybe we're going to do this the other way around. Maybe I'll put these into rare, these two into super round, this 12 legendary. So we got enough colors for each of them. Royalties, but it doesn't matter which kind of body shape we are using. So this one is going to be, and then we name them accordingly. We say, first maybe the color and then the body shape. Or we do this, the vice versa. We can say body shape and then the color. You decide how you want us. In the end, we're going to have six row, four, row of four red ones for the yellow ones, for white ones, for green ones and so on. And we just need to separate them into the corresponding folder so we have more than enough content. For all the different, well, for all the different legend dairies. Let's start to export them. So first off, we're going to go in the corresponding folder and save this one. As you can see when there's this checker box here, we know that this is going to be transparent. So we go into buddy, go into, well, you define, I'm going to define the relative by color, not by shape or by color. And this is going to be, and now we need to make them so we name them. Maybe we can say in front, we're going to put the color and the back, we're going to put the shape. So I'm going to say, let's say brown. And then I make, you don't have to make a dash, but you can. And then I say normal or you can name it whatever you please like. You can define whatever the shape could be. We can also name this one Basic or whatever. And then we hit Save. It's going to be exported. Make sure it once again you have select the page. And when you go into the folder structure, you should see now inside this NFT buddy common, we're going to have a brown normal one without any background. So this is the most important part of a here. We need to make sure that we've got no background, no nothing but the actual document. Pretty good. So now we go forward and export everything else in the same color with this body shape. So we select the body. Maybe we take this selection tool here because it's easier to select things. And then we go through all the colors over here. If you don't like to do this this way, you can also pick all the other ones as well and then export them accordingly. So I going to take my color picker, pick rat, go to Export. Go in here and instead of brown, I double-click just brown and type in rat and the body shape stays normal. You can once again do this also the other way around and then you hit enter. Once x power port process is done, you'll go and select this again. Just go here to color and fill because it still is selected. Now we take yellow or maybe it's more like an orange. Then we go to here once again to export, double-click the read name, name. I'm going to pass an orange and then I hit Enter. You can also give them fancy names. You don't have to be like direct color wise. So you can again name them whatever you please in like, you can also even name them white. I will end then put one hour and then, or white, normal hour or whatever. You can put the name directly into this trait as well if you want to. So I select them the window and type in white. Then hit Enter. If you have any typos, feel free to fix them because later on they will be inside the meter data. Like the, the naming convention over here is taken into the metadata of the contact or into the meta-data of the complete collection. So keep that in mind. I'm going to eyeball or I'll pick this one. I really liked the screen. We can go to Export. And if it is more, if it is not really like green, green, maybe you're going to find another nice name instead of green. But for me it doesn't really matter, at least for the moment. If I decide to rename them later on, I can do so. Again, we go to the next one, the eyedropper and take this one. This is more like a turquoise color tint again. Maybe well, yes, sometimes like something like that. Maybe if you have diamond name, so something in mind for free to use them as well. So in that case, maybe you name them ruby, emerald and something like that if that colors that would fit more like this naming convention. So it makes them more, it sounds like more rare, right? So go to export. And well, what would I name them? Maybe also turquoise. I don't know if I had not quite true actually. Could I name it? Maybe I can maybe I can name it the same way as I did with the background name actually. Like this one. I just take the name. Why not? It's not the same color, but probably it kind of fits over here. I don't know. And hit Enter. Now, before I hit Enter, I now need to go into the actual folder and put it into the corresponding folder or in the one where it should be. In my case, I wanted to have them into super rare. So the blue ones and these ones here and two rare, or maybe I do. Well, I want them being more in super rare. So I take red here. Maybe I pick the purple one and put this into the rest while so these two probably are going to become super rare. I don't know yet. You can decide on your own. Pick the next one, which is the marine blue one here. Once again, go to export, hit double-click the name. It's kinda marine blue. And just like the name marine, I don't know why. You can also name it navy blue. If it fits more or just navy. I'm sorry. It's different. And next one is going to be purple. So I can just eyedropper oboe export. I go into the corresponding folder right now before I do anything else. Go into super rare. Can rename this already to be purple. Leave a space and hit Enter, or just say. Once done, we can go to the last part. I'm going to pick this one which is what is it? It's small. It's not pink. Maybe it's also some kind of a rose color. Well, maybe, I don't know. I'm going to name this rose. Hit Enter to apply. Eyedropper. Just most of the time need to do this multiple times or is it a selected multiple times? Sometimes it doesn't really react. So this one is definitely a pink. Make sure everything is written correct. Hit Enter. And now the last one I want to enter is d. Is this one over here. For the normal color or for the normal one. I want this to be legendary like 0.25 per cent. I hope that we can later on use that. I want to put a gradient on this. I pick the whichever gradient we already got over here. Maybe one of these, this one does not look really nice. Maybe this one just goes through the list and see which one you like. We can also use something different right now. Maybe also we can now take a look into silver one, but I don't really like the Silvana golden one might be better. I'm gonna go for maybe this. Well, no, that's not the correct color scheme. Maybe this or that. And I'm going to go for the gradient itself and see where the gradient maybe should have to be. If you want to go and pick the, do the highlighting a bit more in the center or maybe to the right. You can hold Control just to shift over left and right and bring the base or the main shine a bit more over here if you want to go and pull them more. Some effects over there on this, you can do so. If you don't know if that is now a good one or not, just unable things and see what actually what it would look like. For example, if you would have a beak, would it look like nice or not? Maybe you want to play around with the gradients a bit further and see which gradient, what maybe fit over here. And if you don't really know, you can also want to, you can go and pick even other colors on top, like more brighter colors in the center, and so on and so forth. Maybe I going to choose another gradient or maybe I'm gonna go and pick some other colors over here, for example. So I can maybe take one of these colors in this color. Or maybe I just put that right one. I take away the darker one over here. You can you should be able to just delete it, bring it to the right. Then I'll put maybe another flag over here and pick a way more bright. Like a, like a really shiny highlight. Almost white probably. And maybe we can go and give it something like this. So it's really standing out, really looking golden niche. And maybe we can also put something darker again over here. Not quite sure why. Usually I should be able to pick that colors over here, but it doesn't let me really do this. So we might need to go into our color itself, like into the color palette of the golden part. I'm not quite sure if I have them in the workbench on the grid. I just take a look pretty quick where I got the color palette for that, but I believe it's inside the necklace area somewhere. So I'm going to select this body shape once again and pick this one. And then I maybe can pick the colors directly from here, from the necklace itself. For the for the certain pieces of their logs. Pretty nice. I guess. So. Why do I do it this way? It's easier later on to also put this on all the other ones which are, which are going to be golden. So we don't have to take care of this. Shine a light on once again, and we can reuse this gradient in the next, for the next selection, Let's say. So in general, we could select one of these pieces and say, okay, this should look like this one here. But yeah, I believe I like this as it is. And if we're going to put in some or other content onto this one, it's going to be pretty ham, Nice, I believe so. I just hide the other things. I don't really want to see just the golden buddy over there. And this is also how I name it. It's going to be just cold or golden. So we go to Export, go into the corresponding legendary folder and put in golden over here. Golden, golden, those works. Well, or you name it, whatever you please, Mike. And then we are done with the first body. Always the first ten buddy actually export it over here and now we can go for the other ones and do the same thing. 58. #58 Export Eyes: Welcome back to the course. In this part, I wanted to talk about the eyes product pretty quick, but in general, it's not going to be an any kind of different body types. So if you have cool, actually export it now all the buddies, and I don't need to do this with your folly over here because you get the idea about it. You should now have four brown ones, at least four greens for orange or red for white. In the common sanction for the legend erase, we got four golden and total. The rail section, we got Marine and turquoise, all the fours and the rest. Or in unsupervised, we should have pink, purple, and the rows ones. So all of these should now be completely over there. In total, they should be 40. So we have four times three is 12, plus the four from the Golden's are 16. Now we got, in the rare, we've got eight on top of these, which are 24 than we got the common ones, which are in total four by five, so it's 20. So we should have a 40 in total, which is good because now we can in general go and create a bunch of things. And literally just with that already, as we already spoke about in the course, like we need to have ten different colors and for different body shapes, we got 40 and total times a day, ten backgrounds alone, we can already create 400 different things without any traits, without any beaks, without any ice. And so now we need to go into the ice action as well as in the beak section and export them as well. So if you want to, as I said before, you can also use different other beaks, unlike other big colors if you want to. But let's go for the eyes because these are going to take quite some time to export as well, because we now need to enable and disable accordingly all the different ones and rename them accordingly. So how do we do this? Basically, we can use the same technique as we used with in the within the body renaming or body colors in general, I deactivate all the body parts because we don't need them. Means we got yellow eyes. Well, or whatever I named them over here, we just name them yellow eyes and don't forget to add the pupils are unable to pupil. So you have all the effects running over there. And then we just literally go through and say we want to have red ones, the baby blue, the green, and so on. Once again, you can also give them super fancy names like, I don't know, something like Emerald. So you don't have just like green, blue, purple, whatever as being the base colors. So the second one is the naming convention in general is basically the same problem as we had in the body types. So what we named them is we have the board as a base type. They can lend into the eyes folder and in its folded structure. And I haven't really sorted them in a way like for common and super rare and rare and so on. So that's what I'd gone to, go and keep on doing in the end. So like whenever I have exported, all of these are gonna do some decisions on which one do I really like the most? Probably the yellow ones are going to be part of legendary because they are going to fit into the legendary area. Like if two of them, golden pieces or yellow pieces are going to be like together, that would be extremely rare, legendary to be created later on for our collection. So in that case, we just go forward and we name them accordingly. So we'd say we start with dark, unlike with the color, and then we tell what type of ion that is going to be. In this case, it's going to be bored. So we go through all of these eight for the moment. And then we go for the med wants to skeptic ones and the open ones. And then at the very end, I might go and do like two different color types for being also maybe super round, like when we have a purple and yellow, or maybe I'm going to pick two or three different pairs. I don't know. So we have something, let's say on top of just yellow being the only legendary, but maybe super rare. It's going to be something different than the usual eyes are the usual I sat and I need to go and create or set it up the way that all of these are going to fit for all the different pairs, for the mad ones, for the skeptic wants, for the open ones and for the bold ones. But I gonna go for this one later on. I'm gonna show you reserve result in the end. So I believe we're going to make something like yellow and purple or maybe red and purple. I don't know which color which colors are going to be matching over here, maybe purple and blue. Well, no, they're not too. Maybe yellow and purple should be a good, a good setup over here. And you can mix and match. You can make them left and right and right and left. So one of the other, free to play around with these colors and see which one I'm going to fit best and keep on exporting. So unable the layer you want to export, go and export them into any corresponding or any basic folder. And it only can go and sort them through being common, rare, or super rare and legendary at the very end. 59. #59 Export Eyes2: Welcome back to the course and this part I want to quickly talk about the export of ice, as well as how I did the Maltese. So since we have created the pupil is going to be separated from each other. I just copied the yellow one into a new channel. So basically a multi-channel. So each of them got a multi-channel and I just took the left side to be the yellow one and put it above everything but below the pupil. Of course. What I then did is I just activated the ones unlike, for example, the blank one or the purple one, and created the Maltese from that. In total, I should now have four Maltese for each of them I sets. So and also I should have a bunch of these are going to be here. So I have four. Baby blue for, blue, for dark, for grainy, for green. Then four of the multi one was a black and yellow eye. We can see this always see on the side if you want to, then fall with the other second multi one, which is the yellow as well as the purple. So these are going to be the other ones then I have just purple, just read, and just yellow ones. Make sure naming convention is correct everywhere. So they are all written literally the same. So they all have the same names here like rent, mad, rent board, red, open read, skeptic, and so on, so forth. So later on, they are just easier to find inside the collection of the sizes. Now we can define which ones are going to be rare, super rare, common, as well as legendary. So we can define this, and we have to define this because we need to put them into the corresponding layers over here. And we can literally do the same thing as we did with the other ones. So in general, I would just say that the legendary ones, probably the legendary ones are going to be the yellow ones so they're fitting the golden design in general. Or I can use one of the Maltese. But also I can pick, pick them or make them to be super rare. So one of them is going to be picked later on inside four per cent of the eye is or not, or four comma, 75% of the eyes in general. So I'm gonna start with that. I'm going to take the yellow ones. I want them to be super are legendary in this case. So the fitting, my actual golden based design. So these are legendary, super rare, aren't going to be the voltage over here, so I just select them all and bring them into super rare. Now I need rat or around once in general. So which do I like to be rare? Well, I don't really know. I like the purple ones. Or maybe I going to make them around. And maybe I'm going to make another color, maybe this baby blue ones I really like them to be as well, maybe rare. And the rest of these eyes like the blue, black, green, red, and the green ones, I want them to be just common and normal eyes. So now I have sought them all out and a couple of seconds literally, they export takes a while, of course, because you need to enable and disable all the layers and then just export it and name it whatever it is and then put it later on, of course, into the corresponding folders of this legendary types over there. But that's basically everything we need to do over here. So just make it so that you have enough food for later on for our collection creators. So we have a bunch of legendary is a bunch of regions. You can even map, match them or make them like it doesn't have to be lying on the Maltese are going to be inside legendary. Maybe this one Malte here is more rare than another one of them, Maltese for example. So you can also pick one of these, put them into legendary, maybe take another one into the super and so on. So it's not going to be, you're not limited to the colors and general. So you define a new design. Which of them, all of them ears or eyes or whatever or body shapes are going to be legendary or even not. I just put them in there because I want to make sure that maybe there's one legendary we're going to be created which has maybe two golden some things on it or yellow something. So we have maybe a golden skin with a crown as well as his dad. And when the crown is more rare than other ground or than other hats as an example, depending on once again, how we decide that to be laid on, then well, that's going to be picked probably. We're going to fill in the content into these pretty decent, I would say. We're going to talk about the other rarity is to be calculated in a bit when it comes to these special ones like, like the head where the eyewear and so on. So we need to, of course export them as well, right? But later on they might be different, meaning maybe we don't have, as I said before already, maybe we only have 20 per cent of the owls can have Nicholas, maybe 20 or 30% only can have a hat, and maybe 50 per cent of all of these can only have maybe eyewear or whatever. So we made our own need to decide. We laid on me to calculate how much of all of them hours, depending on the size of the collection, will have one or the other specific thing. We're going to talk about this in a bit. But in the next parts, you just so we can just go forward and export the eyewear, the hardware, as well as the necklaces and all the other parts you have created beforehand. So whenever you're done with that, I'm going to go and salt mine with you together so you know which one I pick y probably I can explain it. Maybe it's just a personal thing. Maybe it's a decision you're gonna make on your own. Maybe one thing you like more than the other, so you would make it more rare and so on. Maybe you can also go with some kind of a trend. Maybe some things which you want to make different than others. And this is basically everything. And so we can go soon into the prepare in the generation progress, where we can put all of the content into the website. I'm going to show you later on to generate them and see if the website is going to do with the content we have created. And maybe it tells us, hey, you don't have enough content to be generated, of course. So we may need to go into and creative and more content. So, but calculation wise, we should have more than enough of the basics. And then we just need to later on get rid of some here and some there. So like percentage-wise, we're going to talk about this in a moment or in one of the next videos. To get this completed. Do yourself a favor. Go and get rid, or actually not get rid but export all the eyewear or the hardware and all the other normal ones are, by the way, you need to do the same thing for the beak as well. So we got the absolute basics first. Maybe I'm gonna go and create some gray beak here as well. Or any other color I may like, or maybe a yellow tinted one. I'm not quite sure. I'm I going to talk about this when, when I'm done with that. So go for the beak. The first place. Once we got the big out of the way, go for necklace. I were in hardware and all the other ones you have created on your side. So maybe you have more than I did. Maybe you have some cloth and some other things over there. 60. #60 Export Sorting the Rest: Welcome back to the course and this part, I want to actually just sort them in all the pieces I have just exported into the corresponding layers. For the beak, I'm not one per cent issue of the common sense that is going to count as an 80% is later on going to have, let's say, still 100 per cent on each of them are going to have one. So since the other folders are going to be empty, probably from this collection are going to be picked everything. What I also created this just a gray scale one as well as the normal ones. So I just have a six and total right now. So I just extended this one by picking another color, theme or scheme. Next one is Bonnie has done, eyes are done the eyewear. So I export it literally all the eyewear I just created like the VR, the sunglasses, the 3D glasses, diehards, the patch on the left, patch on the right than the shatter the single glass and the stars glasses. And I just need to just sort them into corresponding layer. So basically it's a personal thing. Which one I want to have in which one folder. So we got a total of ten. So again, not really divide it by four bar, we can say two. And the common tune, the legendary, maybe one-on-one on to them, or 3321 would also probably work well, not really. Maybe 4321 or something like that. So we get a total of ten filled. Again, you're going to decide which one you prefer to see in which one collection. So we can say that L of the eye patches is more rare than the R or the opposite. So again, total manner and total up to you. So which one do I really, really, really like is the 3D one? I want to put this into legendary. I want to be this one are very rare one because I really like it. I do also like the shattered the hearts and the single blast. I'm probably going to put them into super rare. Or maybe you're going to just do these 22 super rare, at least for the moment. So I have something to play around or actually to see what's left. So maybe the VR and maybe this one I'm going to be rare. So like the single glass and then we are going to make them rare. And then we've got these other ones like the normal sunglasses, this task glances and then the eye patches. If you feel maybe one or the other one should be into other, any other scenario, then feel free to do so. I have now four single ones like patches and stuff in the, in the common one, the legendary one is going to be the 3D glasses. I could also put the beyond. This one is going to be the rare selection, the super rare or the shutter glasses, as well as the health classes. I don't know why, but I like them the way they are. So you have to decide which one you want to put into which of them folders. If we, once again, we later on or I going to check this for you before you do any mistake by the beak. If some of them may not end up having a beak, we might need to go and put more beaks into the corresponding falls, but I want to keep them empty just to see if that has any impact later on. Next one is going to be the hardware. So in here we got the base camp, the beanie, and all the other ones. So which one you have created? Absolutely. Up to you. I've created a total of 11. It seems I'm not quite sure why there are 11 instead of ten, but that's fine. I just now need to solve them in the way. So which one do I really want to see in the legendary is probably one of the crowns and the halo. So I got to put the halo into a legendary and probably the queen of the King crown, maybe the King crown super RAM. Maybe the queen crown is going to be legendary. Not quite sure why, but this King crown definitely goes into super rare. I also might put the red ribbon into super rare. Not quite sure why, but this is the way it is. I want to have these may be in just common. Then we've got the base camp, the beanie and the cylinder as well as the headphones. Maybe these are going to be a ramp. Not quite sure. Again, you need to decide over there. Just take a look. Legendary to golden. Something's this one. These ones are just, you know, just normal ones. Maybe we're going to put the beanie or the base cap also in one of them. Maybe the beanie or maybe they said no, no, I believe I keep them as they are. So we have three common ones and this time two legendary is for Ras and I believe to super S like Yeah, that's good. I guess. So. And if you have anything not sorted out well, is of course, the necklaces I have created for silver and for golden one. So the golden ones are going to be the Bitcoin one, the dollar and the theorem, and one without anything in the center plane one. So this might be not as rare as the other ones. So and we can also go and put them into the corresponding ones. So the silver plane and the golden plane, these two are going to be the common ones, I guess. Maybe we can also leave the common ones alone. I don't really know about this. We're going to see this in a bit. The legendary ones we can define if you want to go for a series on Bitcoin to be the ones. We can also have split them. We can split them by whatever they are about. Maybe you can also say, Okay, all the silver ones are going to be in Ran super rare, legendary, our golden ones only. Once again, this is something we are. You have to decide on your own. I would go for maybe these two going to be inside legendary and the golden dollar and the silver dollar probably go into RAM and maybe these to go into super app. So the Assyrian Bitcoin, a silver one in a super rare manner. And once again, the common ones or just plain one. So there no, nothing on them. So we got the golden dollar and the silver dollar in here and so on. So if you now have actually sorted out everything, we sorted out all the beaks are the backgrounds, are the bodies or the eyes, or the eyewear and so on and so forth. Or maybe you have even more on that one. Then we can go for, well, generating the content I going to show you in the next video, which website is going to be rather quick, and which one is automatically generating the complete content for us, like all the metadata as an example. So we can take a look into the meta-data, what's really happening inside this meter data, and how do we define the content for the meta-data to be fulfilled correctly later on. 61. #61 Wallet preparation: Welcome back to the course. In this part, we want to talk about the actual generation process. Before you continue, you might want to go for and use any of the browsers you like. I'm using the Brave browser. You can also use any Chrome browser extension or something like that. You probably can use literally any other browser, even the Firefox browser and even further, what do you want to make sure is that you install MetaMask extension of you just go to the search engine of your leg and install the MetaMask extension and create a wallet if you don't have one yet. Once you got this, you want to make sure that you connect the wallet on a launch, my NFT.io. Just make sure that you type this 100% correct over here. And then you want to connect your wallet, makes sure you do everything you have to do to generate or to create the actual MetaMask wallet. Let's take a look at this pretty quick how this works. So first off, you want to go for the website, MetaMask.io and then hit of course, the download button. So once you go to the download page, you're going to see install MetaMask for Chrome or whatever extension you are using. You can also go for iOS and Android later on if you need to N12. Well, once you got this, you want to have this one installed. It will drive you through the complete process to create a wallet. So you want to make sure that you also add the magic man-made network later on. So to your MetaMask wallet. So if you haven't done this yet, so if you want to go through that and we're going to say, okay, I want to connect now after you have like the key phrases and so on and so forth it and gentlemen, So for you it's going to be in English. You want to go for these metric name, main net of the day in which you want to add to your wallet. How you do this, you probably go and just a search for it accordingly. Let me show you in a second. If you go and search for it and like how to add literally the magic main net over here. To add the polygon network, automatic main network, you're going to see all of this content over here. There are some RPCs you can make use of it. Literally just copy and paste all the content over here. So you just do whatever is set on those images. So just for free, go through it. Just once again, go into the search engine of your liking. Just go and search for somatic main net. And then you see guide to setting up the polygon Merrick network. And there are a bunch of other ones you can also take a look into. So once you have created this one and you go to that, you can add the new after you are logged in into your in your, in your wallet over here, you can go to settings, then you go to add network, and then you go to networks and add this one and just enter all the contents over here. Everything is explained 100% over here. Let me pretty quickly login to my account over here. There's not much going on with that. And just to show you where this is going to happen, you go to the little sign on top right corner, then you go to settings over there and then you go to networks. Sorry about the language, but you'll get there. Then you go to add network as it already explained over here. And if you do so, you're gonna get a mask or like you get something to put into your browser so you can see network name, the new RPC URL, then the chain id, then the currency symbol, and then the Block Explorer. Once again, all of that is written over here. You just copy and paste symbols, malloc Block Explorer URLs, this one. And I believe I have chosen the first one over here. So you can basically use any of them, but use the first one. And you should be good to go. Like not, not the polygon RPC, but maybe this one over there. I believe I'm using the same one at this point. Once you've got this, you're gonna go for safe and then you have the possibility to use the metric name main net because, well, when you create your first NFT collection and you want to sell it, you want to make it as cheap as possible and so on. The polygon network is one of the cheapest in general. So we can make use of that once you have earned some currency here and you can later on also, if you create a second and hefty collection, basically on the same way just for us researched, do and create all the graphics and stuff like that. You want to make 1% issue, maybe not, not one per cent issue, but if you have created on, got some magic in general or some polygon over there that you want to put maybe the next connection or collection inside the Ethereum network which is going to be doing through the gas visa. It's rather expensive and so on probably sooner or later one of these aren't going to be, well, not as expensive. So if you have everything set up, you have your one ad set up, you have a log, any of the 24012 of that security and password or words, write them down anywhere and keep them there and you don't put them in your pocket or someone else for putting on a safe place. Because if you lose them, you will lose all your currency and you will lose your complete everything inside the So keep that safe on a safe place and print it out, put it in the bank. I don't know where or barriers or somewhere where nobody is able to find it. So this is basically it. Just add the MetaMask wallet extension, create an, create a wallet in the main network. And then the next part we are going to go and generate our actual collection with this content connected with the mat, middle wisdom MetaMask, wallet connected on, by the way, you need some metric over here inside the actual MetaMask. So make sure you're going to put some US dollar, probably about ten or something into this. How to send the how to send the money into the wallet while you just copy your wallet address and send it from any exchange like finance or somewhere else and put it into the medic maintenance. Maybe it's a bit too expensive to do it the direct way. So you just have to go through the process and see how, how cheap you can make it. Maybe you send something else and to that, and then you convert it like maybe use something like USD t and then convert UCT to malloc, which might be an easier way instead of using the more expensive way, feel free to check it out, see how it works. Just do some research on that. You will be able to find information to get the medic into your actual wallet, into your medic main network. That's basically add to make sure you have at least something in here, maybe about $10 or so should be more than enough to mint or actually to generate the generation process should be free on the website. But when we go to minting, we might need some medic over here. I'm not quite sure how much it's going to be, but it should be rather cheap. But this is at least something you might want to work with. So keep that in mind and put them into this over here. 62. #62 Generation Preparation 1: Welcome back to the course and this part, we want to generate our collection by putting in the content we have sorted out beforehand. So we go for and make sure that we are logged in with our wallet and with the current wallet address. So if you have multiple ones, just, it's simple to create a new wallet inside your account for free to do so if you want to keep them separated from each other, however, of course then the new wallet you need malloc inside, so inside the metric name where main net. So you can play around with that if you want to go for the theorem or with Solana or with any other of them. You can use them as well. So the supported on launch my N of t dot IO, the supported cryptocurrency is a theorem polygon Solana and also bind answer. So if you want to go and launch your NFT inside the violence chain, blockchain, which might be, I don't know, maybe it's sheep are not as, not as expensive as an Ethereum or something like that. Feel free to check it out, see what the prices are. A few lag like Solana more than you might not be able to use the MetaMask wallet. I'm not quite sure, but I believe there's a phantom wallet or something you need to create for Solana, just go for it and do your own research on this ones. Also, what you can see is how much does it cost to launch the collection and men? So the launching and minting is usually achieved. The most expensive ones is usually the actual gas fees over here. And don't forget the platform itself will always get something when it comes to them minting do use upon wireless for collection yet does, how much can the generator create and general, it tells up to 10 thousand randomly generated and f t. So this is what we are aiming for. If we're unable to do this, we need to make new content or more content to fulfill that. Then will it be available on marketplaces? And so what is happening on the Salama? It's going to go into Kenya machine ID and the associated marketplaces. For a theorem and polygon. It will be going for open sea and also it will be visible at least on variable. So keep that in mind. These will be literally these connections will be generated automatically once the first mint happens. And we don't go out for a minute if we don't like to, but others will be able to. So then we got the example for the input generator. So if you want to, you can download this one. It's over here. But literally it's what I said before. What I showed you was this relatives like the common folder, the Ralph orders a super rare super underscore RAM folder as well as the legendary father because that is going to be used later on for the actual generation. We're going to talk about this in a moment. Then how do we received a connection mint funds? So whenever we are starting to mint on Solana, they are going to take that two comma, five per cent feed directly when we go for a theorem and polygon. Then once we sold out, if you want to go for sold out or whenever we like to take profit, let's say I'll take some of the minting main things, stuff, then we're going to pick that two comma five per cent fee from that whenever we call lacked alike when it is being withdrawn over here. So to keep that in mind, it does not automatically go to your wallet. You have to take it into your wallet. So this is what we're going to go for and, but we want to go over and create our new collection over here. So we want to have, we have two possibilities. We can say new collection or generate collection. We've for the moment want to generate a collection and now we can give it any name if you haven't created an owl's, but anything else, well, feel free to give it any contract names. So the contract name is basically the collection and you can also name this whatever you please write down some info ones like this is a contract like a crypto cars or this and that. And this one here is the collection name which is just I'm not popping up like above the actual collection. So I named mine our connection. And you can name yours whatever you please in like Absolutely. And as you can tell the contract name, I must have no spaces, so we just get rid of the space in between and everything is good to go. And then I give it some symbols so it can be, for me, it might be our C or maybe I'll see one or something like that, or maybe our one. I'm not quite sure. Basically it doesn't really matter. Um, but as you can see, numbers are not supported. It seems well, because there's, this one here is not going to go blue whenever I put a number, as you can see, it's like graying out itself. So I might wanna go for our, for our connection or maybe our Clone probably is also a nice name. I'm not quite sure the symbol really does not matter. So what we wanna do is we want to launch connection or collection may be later. So we can put some time like so we can pre. Means something like we can preset the time and date or something like that. And we can also add the waitlist y plus something like if you go for a premium and then you can put in some wallet IDs which are allowed to mint before others do. If you are going for a bigger project, if you have some super and let's say there's some big thing behind that, like a big, a big a roadmap and so on and so forth. You can put people on the waitlist. So there are special for you and for your connection or coal or for your collection and General launching later, we'll basically that's what we want to go for. All I want to go over, I want to launch later. I don't want to really launch directly, but it doesn't really matter at all. I got to keep them as they are so you can enable or disable them depending on how you wanna do this. I just want to go forward for the generation. Now it tells us here, drop your input folder below to start the n of t generator. So we go into our folder here and take the complete input images, are going to put this on a second screen and just drag the complete folded directly in here. And once you can instantly see as a preview. So we can now see, okay, one of them, the beak is kinda, or there's currently no beak inside that you can see. This 80 per cent of the rarity in general does not contain any beak. Before I go and play around with this relative percentage, I want to make sure that I always see a beak. So the question is, why is that? Well, probably I made a mistake because the beak has to be below the body. Now with all the beaks connected, I will need to make sure that the beak are below the body. So now we go through the actual settings over here for the layer order, we got the background which has to be layer one, which is going to be absolute and the top then we got the body which is going to be the second one after that. So we are going top to bottom, goes back to front. And since the beak has been above the body, let me show you and do prevail. You're going to see no beak. So again, each of them folders need to have at least one peak at a time. So if I now take the beak and bring this below the body and make a preview. Each of them will now get one big. Now we can preview and you're going to see pretty much interesting ones, or this one would be a super rare one actually, because of the, a golden body, the hunt, the halo, the VR is not as rare, but maybe the silver one, I'm not quite sure. So we can now generate multiple pervious over here and see if everything is going to the way it is. So currently, everybody gets everything every time, which is not what we want. We want to have some wedges. Don't have a hat. We want to have some which don't have glasses or even don't have any necklace. So how do we do this? Well, each of them layers has a rarity here as well. So one per cent means. And pigs from the common legendary brands, super rare ones, which we are going to take a look in a moment. It picks from them as we calculate beforehand. So if we say, we want 100% have a background, 100% should have a body, a big eyes. Then we can say, okay, we only want 30% of the time I aware, or maybe 40% gonna have an eyewear. Then we can say, these are all the traits we can now define how much we want. We can say it's 30% going to have a headwear. And maybe, I don't know, 20 per cent only going to have a necklace if we now preview, you're going to see maybe some times they don't have a hat, but maybe they have glasses or not. So that later on means, mean when it comes to the generation that these are going to be only 40%, will get a glasses of the complete collection if it is even possible, which will. So no worries about it. You can also play around with these numbers, make them more or less and so on. So they are more or less rare or even not rare. The basic ones, these four are over here, they should always, always be 100 per cent. So because these make sure that we have at least a connection of a collection of over 10 thousand in total and these ones are extra. So we can maybe later on, lucky when one or the others are going to have a crown was a golden one, this one would be a reservoir one, and so on, depending on what we're later on going to pick. So as you can see, all of these are going to be just previews out of the current percentage based on the relative settings. But now we want to change that. Over here. In here we tell it total. This is the relative terms of a rarity within each of them layers to be picked as we just did with the folder structure. So each of them layers have their own rarity. I gonna go common for 80 per cent. This in total needs to give back basically the actual percentage of a 100 and total. So keep that in mind. So we're going to keep the relative first, the red one, I want the red one. I'm not quite sure what I just picked. I go and take a look in to my list I just was creating or using beforehand. Which I decided to. I believe it should be something like 15% super rare, should be something like four comma 57. I hope that is going to work on. And legendary is only 0 comma 25 per cent. So all of these together should return a 100%. So let's take a look of that really matches of 80 plus 15 plus now we can see four comma 75 plus 0 comma 25. And so we got a 100 and total. So this is necessary. Now we preview again here. And it should maybe sometimes be a rarer one or maybe not a real one. I'm not quite sure, but it seems that pinks from everything. Just to see how our hours are going to look. Seriously, I really like how easy that is, how easy that is to see what's going on over here and how the previews are going to look and so on. Once again, some will have and some will have not part of the connection. And the next part we are going to take a look into the other numbers which are important over here to get this generator complete. 63. #63 Generation Preparation 2: Welcome back to the course and this part, we're going to take a look into all the other settings over here, which we need to make sure what is the actual content we want to create. Depending on the collection size you are after. I want to create 10 thousand pieces, if that is even possible. In here we're going to put in the base our name, which is going to be the name of the connection or collection in my case, and then a hashtag behind it. So the numbers are going to be behind the hashtag. So we do as they do, we say our connection hashtag. So every number will be hashtag with a number in here. Now the minting cost, we're going to have this magic polygon over here, which is going to be the cost for the fans of our NFT collection, which is not including the gas fees over there. Now we can go and go for and use take a look into polygon to US dollars. So one currently, one polygon is about 61 sentence. You can pick and literally any amount you want, you can go for a super small one like 0.25. And this is going to be around 15 US dollars cents. Just so you get a feeling of awarded is about if you go for a theorem, then of course go for a serum USD t and see what is going to be the currency you have to pay over there, or what the main costs are going to be for that inside the actual launch. So how does it work now we're going to go for, so who I want to launch that? I want to pick maybe at 0.24025 over here. And now it comes to royalties. Royalties are going to be how much you get when I'm like in return, whenever you have a resell, usually the platforms are going to use for resale two comma 5% in general, like OpenCV or variable. What you want to go for is maybe a higher one, like 5% or 6%, up to ten per cent. I showed, you shouldn't go higher than 10% because it's tedious except you have a rather small connection or collection over here. So what I would pick is probably something like six to six comma 5% around that because of the size of the collection. So I'm going to put in six comma five. You can put anything, you can put it in six comma 76, come on up to ten, you can even go higher, but you shouldn't. So six comma five or maybe 6% and rural royalties, meaning the platform get 2.5 and you get like a 3.5 as an example, If that is the number of wood which fits for you, then we can now start the generation process. But before we do so, we also wanna go for the description of that. So we want to tell what is our collection about which we are able to change that, but it's better to do it right now when it comes to generation. So we want to describe what our, our connection is going to be four, as you can see, the description of individual and in N of t is used by the brackets. Name. Variable is going to be like this one over here. And the rest of that is going to be like the name is going to be dynamic and the rest is going to be part of any description we are giving it. So I wrote something simple this hour is one of the kind in this, in this 10 thousand generators are generated, our connection and f t collection. So we're going to put an NFT collection here as well. And so we're good to go. You can even go further, put even more into it. And now it comes to the actual generation process. If something is going wrong or whatever it might happen that the generation of the 10 thousand might stop somewhere in between. If that's the case. Well, first off, you might wanna go and make a screenshot of all the content you have created over here just like that. So we know later on what you have literally put it into that. Like you don't need to put the content a second time into all. You just copy the content once again into the file over here. So something like the actual description probably just put this into a text file so you don't need to go further or you don't need to go and rewrite the bot content over there, also the name and so on and so forth. And then you hit the Generate button. If everything works 100% on you. We're going to see us in the next video where we have generated the 10 thousand pieces. So press on this button. Right now you don't have to pay anything for that. 64. #64 Generation Result 1: Welcome back to the course. In this part, I want to talk about a different browsers and probably some issues you can come across as well as what the output of the collection gonna be looked like. So what I did, I just did some changes to my collection in the first place, which means I just changed the relative factors a bit because in the first one I just got generated in general, I didn't have any legendary pieces because probably the 0 comma 25 per cent of them have not been huge enough. Or maybe it's not a comma about a point. Maybe it's rounded down, maybe it's rounded up. We are not 1% is sure where or how the actual browser is going to calculate that. So now I generated a second version in which I was the one per cent of a rarity in case of the legendary content, IS still got about 80 golden hours in the 10 thousand collection, which is fine. I mean, we can always go and take a look what the rarity on that as I wanted to have a bit less than that, I wanted to have like 25 overall. That's why I just reduce this number. However, AT is not too shabby at all. Or maybe it's about 90 plus minus a bit with some error, error, depending on what they also got. If you are totally unhappy with the result of your collection in which got generated for free to change it or just generate the new one, just drop in the same things, fill in all the content. Once again, wait until the output has been downloaded. For the browser. Issues I came across is if you are using the Brave browser, I just stumbled upon a memory leak, meaning the memory windfall. And meanwhile, the output folder was not downloaded but stored somewhere in memory which couldn't be held. I have a huge amount of memory over here, like 22 gigabytes and RAM, as well as a bunch of a physical space, or just virtual space on the hard drive. But it was not enough to give me my result because brave is storing this all completely and downloading the complete content into the catch it seems. So I couldn't increase the catch high enough or being high enough to be useful for me. And so I couldn't download the complete, I believe it was about three to four mega gigabytes of our connection content. So then I was trying to use the Firefox browser, which literally does the opposite. It does not put anything into catch, but it also doesn't download. It, puts it into the visual or virtual space as well as in the actual hard drive or the memory like the RAM, which just didn't make me any, or it wasn't even able to complete the generation process. So what I did is I got to Google Chrome browser then installed the MetaMask in here just to see if everything is going to work here. Reconnected are connected to it and it downloads the output. Meanwhile it's gotten generate it. So nothing is going to stay in the catch, at least for me. So feel free to play around with browsers. If you have issues with one browser, take another one and do this until you find the browser which is able to store or actually generate and store the content. Well, storing would be nice if it would be like streamline storage. So you don't have to have this into memory or somewhere else. Just keep that in mind. Once you've got the zip file downloaded, let's take a look what's going to happen over here. I just put my screen over there. I got an output V0, V1, and output V2. I'm going to go into the output V0, V1. So you don't really need to check what's inside output V2 and what are we gonna get? And here is an images folder as well as the meta data folder. Let's pretty quickly go to images first and see what happened. You're going to see this on your side as well. So than thousand hours got generated. And what i, just, as I said before, myths are all the legendary ones. So I have some of these, some hours of that and so on and so forth. So if I now want to know what are the traits are stored into the metadata, we can take a look into, for example, take number 212 over here, and I go one bag and go into meta-data in which you will find 10 thousand JSon data files. You don't really have to do anything was done just to make sure to completely check. I'm going to type in 212 and open this by double-click. If you're a programmer or if you have any programming installed, VS Code or Visual Studio code or something similar, or maybe Python, you should be able to see an open these JSON files. If you don't have them, you just can use a simple editor to open them, like just a simple text editor, you just go right-click. And then you can say somewhere open with. And then you can choose any, any plain text file show view. So what do we have here now is I just changed something so we can read it a bit easier. So the meta-data is starting with this open curly brackets. Then we're gonna get all this content over here. I'm going to put them all under each other so you understand what's going to happen over there. So in general, it is going to happen that all the trades which are contained inside the image are going to be listed inside this, inside this metadata. This is the last bracket over here. So at first, what we're going to see is what does the name is automatically generated with the hashtag and then the number, as we just did, also took the same name of a year and then the description this all as one over ten thousands generated and empty collection. And our connection than the fee recipient is every time somebody is going to repurchase that, usually you or whoever should be the recipient of this of this, of this fees. Fees means this is the royalty over them. 600 as well. Per cent are going to be in numbers is 600. I don't know where this number really comes from, their system behind that. Then we've got what the image name is. In our case, it's 212 PNG file. So we have a connection to that because later on the data gets uploaded to IPFS. And I believe everything over there is going to be automatically done. Then we're going to take a look into the trait types. So each of them folders we have created beforehand or the trades type. So except the relative rank which is going to be generated by the system, by the website itself. So everybody can look for a specific relative rank. For example, I want to see what is the most rare and this collection. They have the possibility on open sea, for example, to search for this one number and see which one is the most rare of the complete collection. So and then we got the values. So in this case, the background is going to be the feathers background as we have seen beforehand, the torque coils. Skull is going to be our actual body. And if you really want to go forward, you can see and compare if all of that would match. So we can once again go here to one-to-one. I just take a look into the image. I'm going to bring this a bit to the side so we compare it. So we got the feathers background, we got a turquoise, a skull, body type, regard the broad gray beak. We got the sunglasses, the iOS son. And I had where it's going to be propeller. And this one is not, is not too bad actually. It has already a relatively ring from ten thousand, eight hundred and thirty five and forty four means rank one would be the most rare in this complete collection generated. So once again, this is done automatically by the system. So if you have just tested this one, take a look. Maybe you find one of your super golden, super rare ones, see what they have and what the most rare is going to look like. I'm not quite sure which one it should be probably at some, some, um, of them images with the moon and the background around. But if you can tell, I go through them over here and one after another. But none of these images do contain any legendary is no moon background or no night background over here is going to be or was generated for me in the first place. So that's why this collection here is absolutely useless. Once again, maybe it's a typo thing that maybe like 0.25 is replaced and instead of 0 comma 25 are gonna do a check for that. Maybe I can come across something, let's say way better with more rapidity in its general. But with a comma number, this does not match up completely over there. Um, so I'm going to prove that for you. I'm going to test this in the next one and we'll tell you in the next one. And once you have seen all of them and say, Hey, do you like what you see? Do you see do you like what you got from the then we go into the next step up beforehand, make sure everything looks correct, is correct, is in a good shape. We have enough has been like about 20% should have a necklace and so on and so forth. The every 20th hour or something, even less every one of a kind here and should have feathers background and so on and so forth. So what we do is, or what I do is I'm going to recheck this one again. And in the next step, we are going to take a look and see how the actual result is going to be. And if the legendary content with the 0.25 input and the browser is going to be, let's say, more valid, instead of using a common number. 65. #65 Uploading The Content: Welcome back to the course in this particular product, quickly go and create our new collection before you do so, you probably want to generate or create a banner for your collection. So this banners do have some, let's say a preview or pre, preset sizes. You probably want to go for 1500 times 500 in general in pixels. So I make them rather small. Maybe you want to go and make a little GIF animation or anything like that, feel free to do this. So if we're going to go and make a new collection right now, because I have just close the other stream on the other page over there because I couldn't figure it out. The common numbers over there. So I believe common numbers are just not used in here, or it doesn't seem to work 1% or at least as they should. Maybe I just was unlucky. I don't know. However, with one per cent and the most legendary pieces over there, you get at least a good amount in the ten thousands collection over there. So play around with these numbers on your own, regenerate multiple hundreds of times and see however on how long you want until you have a collection you are in love with, let's say, or which one you like. And you can once again repeat the process unlimited. Nobody teases you. It doesn't cost you anything, at least for the moment where I just generate or create this course. So what now do we have to do? We need to go and we have a n of t acid collection and we want to upload and launch our collection right now. So we go and select new collection. As you can tell, we now have to fill in all the content once again because well, we or I just didn't continue like that. So on this screen, we're going to have to once again put in the contract name, the actual collection name, and the symbol we just have created beforehand. So I just did. So in general, we're going to put in this connection or collection name, my, our connection. Then I'm going to have my, our connection, a name with a space in between. Then my symbol which is going to be our Khan. Then I can tell, okay, I can launch later so I can do something like a pre-launch. So it allows you to enable minting at a later date and requires extra transaction to own enabled the minting. So just keep that in mind. Also, you can add the people or addresses to a whitelist. Meaning whenever you want to whitelist somebody like your first 100 followers or something on your first 100 people. Well then you're gonna get this over here. Why don't I don't really know. Oh yeah, that's correct. We need to put the hashtag because the PNG files do got the numbers automatically. Now I'm going to go and take my description once again and put this in here. And now I can also define again the minting cost. And my case is 0.25 manic, like, Oh, 0.25 malloc. And I want my royalties set it to be 6%. They are also inside the metadata, but just in case we're gonna put them over here. So now this would, would be some kind of a preview over here, but we haven't uploaded our content yet, so we need to press on Next. And now we need to take the complete output folder with all its sub folders. Like in my case, it's output V2 over here. There are these images and meta-data into. You want to take the complete unzipped folder. Do not put the zip file and put the output V2 and my case over here and drag it over there. So now what's happening? And it should now get uploaded into this complete, in this complete collection over here. For me, it's going to be about, let's see, about the size. It's going to be about multiple, multiple gigabytes. So let's see. It's going to take quite some time. It should be over three. So 3.15. So we're going to see that as a preview right now running, I believe privileges means the first couple of sum are going to be looked at. We can also see in the bottom over here, this is the rarity rank, our actual generated ones getting read from the Meta data. So this one is almost not rare at all, which is number ten, then we get another number. So some of these are going to be more rare than others. And we can look through maybe another couple of ones. Maybe this one here, 334 in relative rank. And you can go and literally looks row one or the other over here. So most of them are not going to be super rare or something, but maybe one of them is going to give you an idea of a rarity in general because they're, the most rare things are going to be picked like this one has the actual The actual halo over there, which I believe was a super rare one. So we can now, if we want to look through all of them hours once again and see which one is the rarest based on the metadata. So we got one here which has the golden shine, yes. Or like a golden body, but it's not as rare because it doesn't have anything overall. So this is just a normal golden hour, but it is not as rare as probably some others, like the one we have seen above. Like probably this one is rather rare because already kinda rare because of the, all the trades that gut, or maybe this one because all of the traded gut and trades have God-like. I believe it's a super rare or at least the background, as well as the beanie and the eye patch over them may or may not be rare. I'm not quite sure about the beaker this case, but I believe one or the other beaker is going to be more rare than another peak, which obviously is going to happen over here. So again, if you are happy with the result of you have seen all the previous, if you want to, you can take a look. Okay. Who or what is my rarest? If you don't like what you see, you can go back and say, okay, screw that. I don't really want to get into this collection because, well, probably the one or the other is not good enough or maybe the relative rank overall is not good enough. So go check all through all of them. And once you are done, you're going to go for and hit Continue. So if you have gone through everything over here, checkout is everything inside the collection. So if you haven't done this in the computer first before uploading and so on and so forth. You will have now the chance to once again check through, see if you'll find maybe the one which is the rarest and your collection. I literally found some of them, but not all. So you need to take your time and see Israel or look through and check all the relative ranks over here. What do you can also, by the way, do right now is you can select one of them hours, whichever it is, of course. Then you can see what are the attributes. So what the background is, these attributes are coming from the metadata we have just generated, but what this website has been generated beforehand, like the beaker, so small week. Then we got the gray open one. Iss over here. We got a D patch are for the ride. I like when we're going are looking to the opposite leg outside of the eye of the owl actually. So on hardware is the beanie and it has its relative rank seen over here. So just keep that in mind. The attributes are going to be in here. The description is the one we just put it into there as well. So which is number one in the collection. Pretty good. So this also looks correct and seems to be correct. So from the metadata generation, all of the processes gone through. So what else? What's next? Well, we're going to hit on continue over here and now it's starting to upload if not happened in the background already, all the images and all the metadata. So these ones here are just previews from your image over there. So this uploading process is going to take awhile because you have decided to go the next step literally. So you're gonna be absolutely making sure that you now or upload all the 10 thousand images and all the 10 thousand meter data. Once that is complete, fully over here, you're going to wait until this is complete. We hope nothing is going to crash and stuff like that. Otherwise, we need to repeat this process. And once again, the one browser might be better than the other. Just so test that out, see what's going on. See if Google maybe is faster than a brave or maybe Firefox or whichever browser you are using. And just wait until the upload is done. Upload might take quite some hours actually, because for me it's about three gigabytes of content or three comma, I believe two gigabytes of content. So for you it might be more or less depending on the size of the images, of course, as well as the amount or the size of the collection you have created. So if you are going for a smaller collection of cost, this is going to be quicker and uploading. Wait until it's 100% and see what the actual screen is going to give you an icon. I'll see you in the next video where we're going the next steps. 66. #66 Contract and Mint Page: Welcome back to the course and this part we want to go for the next part, which is after uploading, which might take up to two or three even hours. We're gonna go and get the launch collection accept transactions. So what it means is it opens the MetaMask wallet for you and it shows you what you have to pay in order to get this up and running. So in my case, it's going to be 0 comma 05 medic over here, which is kind of well, it's some sense maybe like 20 to $0.30. So I'm going to go and say, yes, I want to do this, I want to pay with this metric. I got some medic in my wallet. Once that is going to happen, that this transaction gets completed, which you have to pay at least for the medic. It's rather rather cheap, I would say you're gonna get the success, check out your mending page. And so what we can now do is we can go to the landing page itself and see how our mending paint just looks and you can see we got no, nothing over here. So we're going to have to create a, let's say a preview for people to understand what this project does about as well as this banner over here. So this is basically everything what we got so far since we are or are not like sad, I wanted to plan this wind, but I wanted to make it at least the public meant I just haven't been haven't been possible at say to do any settings over here. So everybody now, from now on can mend the product. So what does it mean? We have now 0 comma 0 per cent sold. We're going to have 0 of 10 thousand are going to be sold of cars. And we got the minting price, which I just said, you said yours however you want. By the way, we can mend some on our own, but we can also added this page so we can give it our own description and so on. And how do we do this? We go here to this little pen tool and the top-left corner, just select it. We can now add our Twitter handle. If we got one, we can add our discord channel. If we got one, we got to here, we're going to see what is going to be the amount that we got so far. And we can now put in also our own description over there. Once we have done all of that, and we just hit the save button. So I gonna do this right now. And we're just super simple. You can use Photoshop, you can use anything to create your gif animation. That's totally up to you. Even those online ones can be used like you're going to take some of the images and say, okay, I throw in like five to ten and show them for 2.5th or maybe a quarter of a second or so. And then they just quickly blink through and people can predict what's going to be inside the package. So this is your marketing, your first marketing part over here. I'm not going to cover marketing in general, but I got to go for and create a Twitter handle at least. And if I'm really in the mood, I'm gonna go and put in a discord channel over here, which may or may not be visited. Nobody really knows, right? So that's it. That's everything we need to create, mint and pay off our complete connection and now it's time for us to make marketing for that. So our last two steps are going to be three steps and total for this course as well, is I'm going to write a small description over here. And literally I going to take what I already got and just rename it a bit. This our next action or collection is 10 thousand generated FTE collection of the, our connection. Maybe you find some hidden gems in here. Good luck. So this is basically it. And you can save that already. And you can, as you can see here, put a banner image, just pop over here and see the actual sizes is 1500 pixels by 500 pixels can be a JPEG GIF or even a PNG, but with a maximum size of 500 kilobytes. And same for the cover images which should not be usually is 500 by 500 probably is going to shrink down and can be also a maximum of 500 kilobytes was a direct PNG or JPEG. For now, I'm going to go and save that. So at least I have the description down below over here, this is C, this is your main minting page. You can link this to any social and so on and so forth for free to do that. Once you got this done up and running, you're gonna get some of these links over here. I'm going to put all the content in here. 67. #67 After the first mint: Welcome back to the course. In this part, I want to quickly mention what you might need to take in consideration ones the first cells have happened. So for me, I'm just I just sold the first things I was over here, which is fine. No issues with that. And the first thing I want to let you know is the banner over here. Make sure you are not trying to undo the gif animation. Just use a still, just use a PNG is still, that's more than enough. Second one is if you have your own web page, we use this little one here. And take all the content link for the mint button so you can create like a diff container for the mint button, for the mint counter. And you can use the script over here. Just go to the fields and copy and paste and put them into your webpage. If you have a landing page for your project, then you are absolutely now able to do so was that second one. Once you have done your voice and you got your first purchase the product, you purchase one of your own. You'll wanna go to two websites and upload your banner doing your settings. The first one is go to your open sea account. If you'd have none, you just go here, go to collections. And if it tells you something like, Hey, my collection is going to be this and that probably is going to end up empty over here. So you don't have this gif animation, you don't have this gif animation. What do you want to do in your collection itself? You go to the three dots as an example, you put your Twitter contents of that and you go here to add it. Once you are an adult, you're going to upload your logo as well as the banner you have created. As you can see, you OpenCV uses different sizes and dimensions. So probably the next time, or maybe you go into it and re, size your current ones. So otherwise, you don't have this cutoff away from the top and the bottom and use this dimensions right now. So 1400 by 400 to create your banner, then the connection name is going to be automatically filled so you don't have to do anything. The link is automatically generated and created. What do you want to put in here is, of course, once again, the collection description as well as where your initial mint is. So everybody who is on open sea might want to go and also meant one in the first place. Over here you're gonna go and connect your Twitter account. If you have your web-page, your Discord channel, and all the other ones, just put all the links in here. What you also need to put in is your percentage fee. So for me, I just decided to use a six per cent on open sea. So it's totally up to you what you do, It does not read it automatically. You have to put it for the collection. So for each item in this collection, this number will be sad. Also makes sure that you put on your wallet ID, whichever it is, your wallet address, where you want to get this fee to. The fee is paid once a month, I believe. Here it's whatever the blockchain is as we just minting and polygon blockchain, we don't have to do any changes over here, but you can also go for it and add more or multiple token. You could just go here and just say, Okay, I want to go for a polygon die or for the US DT or do a USB-C in this case, which is a stablecoin or something like a stable coin, I guess. And so on. Finally, pick the display theme, as you can tell that as a part of that contained and uncovered one, the contained as a one-on-one ratio or good for one-on-one ratios like the ones we have created if you have decided to not do it, no problem. You can just say, whatever is going to extend. The answer's probably the covered one is going to be the one you'd like to have. Or if you have transparent backgrounds as an example, like because you have masked out, I don't know, dragons or something or any other creature or the owls have been, have no background at all. Then you might want to go for pattern. Then you want to, if you have a teammates, go and add your collaborator and then you submit the changes. If you are using explicit content, for example, like nudity or maybe I'm not quite sure what all is going to be inside that we can go for it over here and read about it. So setting a collection explicit and sensitive content. So basically to *********** like an F W content will protect the users with Safe Search while browsing open seats. So they don't see this content if they don't want to see this content. So, but still, you are able to do that as well. So keep that button in mind depending on what you are going to create in your next NFT collections. So all is possible. So nobody wants you back to not do, not gradual about the launch my N of t If there are okay with that, so that you are able to launch your new content or whatever *********** content if you have one or n is the FV, W content and so on. Once you are done with all the settings over here with your fees and so on. You just need to keep track of the sales and maybe somebody is already listing yours as people do with mine over here, they are starting to listing one or the other item for this and that a theorem. So if they really try or if they really can sell them items, like resell them, that you're gonna get your royalties of a six per cent. So next one is terrible. And where you want to go for a variable.com is another NFT marketplace, basically. A bit different than open sea, but what we need to do is we need to also go and connect our wallet over here. Connect your polygon wallet in this particular case, go to your collections, and then you go to this, our collection or our connection collection over here. I also, you can go here to add a collection. And then here you're going to put your logo in here. You're going to put your description, which I haven't done yet. So I should do this by just copying and pasting maybe the content I just wrote inside over here in this one. So I just go here to see more. Copy the complete content like that. Copy to reparable. So when I can spread word about it, so people are able to read this content. I'm going to update this on railroad might take a second or two because it also uploads the content to IPFS. And as you can tell now the people which are browsing the variable now can also click on this link and maybe mint initially, and then later on they're also allowed to sell the content they have purchased. So these ones are the ones which are already mentored. So there are owners of these. It doesn't matter who it is. I'm just go for it and make sure they have the possibility to amend all of them. And you need now to spread word about the actual content you have created beforehand. How you do this is totally up to you. You are the one who is responsible for that. And I will not go over and do this. You have to sell it on your own. You'll need to go a spread word about your collection as C, where you can go, see where you can spread word, makes sure that your content is high-quality and everything is good to go and people may or may not like the content I do see, so keep that in mind. Feel free to let me know what, how, how your experience is going to happen over the band. Yeah, go into marketing, see how others do this, how do they sell the content? I'm not quite sure how I did sell my first thanks ones, but it doesn't matter. As long as you do. You know what you do, you're probably gonna be better than that. So keep track on the content, keep on spreading word wherever you are spreading won't usually maybe you are already known artists, then you use your network and let people know that this connection, this collection you have created on your own is already available and let other people know as well and probably desperate for you, word for you as well. And so you may or may not sell out your collection in about, I don't know, short amount of time. Maybe it takes a month, maybe it takes to maybe it takes forever. Nobody knows, right? So feel free to get into it. Prepare everything. So you are creating good content and you are basically selling everything you have created beforehand in this course. 68. #68 Thank you: This is my thank you message for you. I'm thankful that you took the course and that you learned with me together literally. And you created with me together maybe some super useful and super nice and super beautiful and of t's on your own. So basically just following the course, I wanted to thank you to let you know that. Well, if you want to come back to the course, you can always do of course, as well as you are. Absolutely. You can always repeat the same step. If you have sold down your first NFT collection, why not go and create a second one? So I want to encourage you to absolutely finished the product, finish your complete content over here, makes sure that you meant as early or actually give people the possibility to mend as early as possible. If you want to build up high ligand social media and somewhere else, feel free to do so. Do your research before you start. Um, but in the end, I believe everybody, when the graphics or when the content is really good, are able to create NFT collections, which are able to sell themselves. And maybe you're gonna be able to make even more. Maybe you can afford the time to create a second end of the collection, maybe your shirt and the first, maybe the first is never going to sell at all. And nobody knows why. But you, you are the only one who's responsible for that, as I said in the last video. So feel free to create even more NFT collections on your own. Go for 2D, go for 3D, go for. Check the market, see what's currently in and maybe find a trend and write the trend until the end. And so you can also get something of the big piece of cake. Literally. I wanted to thank you once again that you took this course. I hope you enjoyed this one. And if you do so, feel free to leave me a little review somewhere and let other people know that this is a good or bad or maybe a medium course and maybe you're going to let me know what you may be missing. Maybe you're going to have something to tell me then feel free to do so as well. Until then, I wish you my best luck in being, in becoming a good hefty collection created over here and creation seller literally, even if we haven't really talked about selling, but that is nothing I can teach you. This is somebody else who has to teach you that one. So for me, this road or this trip now ends over here. Thanks a lot for joining and I hope you enjoyed it. I hope you have learned a lot about the n of t space, how it's generated and created, and how you can upgrade from the current point over here, make more beautiful, more assets, more collection in size. And maybe you get an understanding how how all of that gets created. And I believe you got that. Otherwise you wouldn't be at this particular point over here. Thanks a lot for tuning in. I hope you enjoyed the course and I hope to see you in one of my other courses. Have a good one, and talk to you later. Bye bye.