Creating 3D Game Characters for Games & Film - Part One - High Poly

1. Introduction Trailer: My name is Mario Stable. I'm a senior three D character artist, and I will be your instructor for this course. In this course, you will learn how to create the high poly of a semi realistic character using modern workflows from start to finish. There is a lot that will be covered in this course, but the main topics are as followed. One, blocking out the character in zebrus to set the basis and proportion. Two, creating the realistic clothes simulation in Marvelous Designer. Three, creating the accessories and harulfas pieces in three dS Max. Four, detailing the character in Zibros to achieve realistic result. Five, using XZ workflow to detail the face and skinning, and six, creating stylisshair in Zibros using curve process. Now, as you can imagine, there will be so many more things covered in this course. Essentially, the way you should think about this is at the end of this course, you will be able to create exactly what you see in this trailer. As for the programs that we will use, we will be using Zebras for blocking and high quality tailing, Marvelous designer for all the clothes simulation, and three DS Max for hard to face modeling and accessories. We will surely use Topogan for topology, but it can be replaced with any other topology tool. We will start by going over our reference and then dev writing and create the blockout of our character in Cybras. Then we will create all of our closed simulations in Marvelous designer to later on bring again into Zybras and detail them. Once that is done, we will jump into Topogan, retpologize some of the blockout pieces to later on use as a base in three d Max, where we will be cleaning up the high polymodel of all of our character accessories and heartilfas pieces. Finally, we will jump into Cybrus one last time to create hair, detail the pace using XYZ displacement maps, and detailing the character to achieve a catching results. With a total of 28 chapters, this course is considered a large course, but I feel confident that at the end of this course, you have the know how on how to use different workflows to create realistic characters. As always, although there is a few time lapses for repetitive tasks, these time lapses include some commentary on top to give context on the third criteria used in them. Now, this course is targeted more towards intermediate artists who already have some basic understanding of the programs mentioned. If you're an absolute beginner, I do recommend that you first view some introduction courses. This course will also come with auto generated subtitles in English, Chinese, and Spanish. I hope that you will enjoy this course and that it will have a positive impact in your life. 2. 01-Defining Anatomy: Welcome, everyone, and thank you for watching Fast Track tutorials. I'm Marie Savile, and I will be your instructor today. I've worked in the industry for over eight years, working in video games mostly and working franchises such as Cal of Beauty, Hitman, Mafia, and many others. Today, we will be covering the process of creating the high poly of a video game character. For it, we will be using Marvelous Designer for clothe simulation, zebras for sketching, blocking, and some other modeling, and three D Max for hard to face modeling. The course will go as follow. First, we will block out the character in Zebras. Then we will jump and do some clothes simulation in Marvelous to set up the base for the clothing. Then we will go back into Zbrus refine this process of Marvelous designer, and then we will police and create the props both in three D Max and cebras. In the end, we will do a base for the hair. It will not final result. It's just a sketch to have a rough idea of how it will go. We will model head high ply as well. And lastly, we will add or knife done in the previous tutorial. Everything you see in the course will be included in the final source files of your tutorial. You will have included hi poly and any possible asset or prop that we model during the tutorial. It's also advisable to have some basic experience with di Max, Marvelous designer, and Zebrus because we will not be covering the basics of each sa. Rather, we will focus on techniques, workflows, and methods to approach a more efficient production. This tutorial will be subtitled in English, Chinese, Russian, and Spanish. The tutorial will be sliced up in fragments of 30 minutes so that it's easier for you guys to watch. So expect a small cut between 30 minutes and 30 minutes with an ultra and intro in the next video so you guys can keep track of which chapter we are watching. Also, the pace of the video will be quite dynamic because we'll be jumping from slow sections where we will be giving explanations on how to do stuff and other sections that will be speed up without commentary and some others that will be speed up, but with commentary in the case that we are explaining something that doesn't need as much detail, but it's also good to add some notes. So don't mind me changing from commentary mode to just thinking comments about how I'm doing stuff because the audio recording is mixed up in that way. So without further ado, let's jump into the tutorial. Okay, so first off, we're going to be starting from these basements, which is provided in the source files. First thing we're going to be doing is creating the basic proportions for the character, which is quite important. Otherwise, it will not have the same feel in the end. We're going to be using the head proportions method, which is commonly used in traditional art or drawing. So for it, we're going to isolate the head head and create as many duplicates as we have on our reference. For that, we previously established head proportion next to our reference, as you can see here. We have a total of 8.5, which is kind of heroic proportions. So now we're going to be doing that in our three d model. So right now, that would be 8.5. We might need to adjust slightly, but dropping this would be a good general idea. And now, having this as a reference, a line like that is going to allow us to easily create a better proportion ratio for character. So the head should be like you can see one head above, actually, a little bit more over a head. So we're going to scale down or 8.5 heads, since it will be a lot harder to scale up the character. So now we're going to select mask aso then blow the mask a little bit, and we're going to stretch the legs. It is good that you guys have the reference on the other screen like I have right now you can see I'm comparing the measures to create a proper length for the femur for any other segments of the character. So basically, at this point, it's pretty fairly simple. What do we have to do. We just have to mask midway into the bone so that it doesn't feel like the joints are deformation, deformating too much. Then we're blurring that mask so that, yeah, deformation is as well, less noticeable. Lastly, we're going to move up and not scale because we don't want to get odd deformations as well. So we move up, stretch the indicated bone and then keep refining that area until we have a more natural aspect. Right now, I'm focusing more a little bit on the sides, not just the length because legs look about the right length at the moment, comparing head size and everything. I'm going to till the character a little bit, like so. Yeah. And now let's use let's use to the upper part because right now it feels like it has very long legs, so we need to elongate the tore a little bit more. It's almost there. Yeah. Now the feet is now the feet is perfect. All the heads. Mm. Okay. This is click Move. As you can see, I have my most used tools on here on the interface so that it's quicker for me to change from one to other. I think this might be the trickiest part to make it look good because yeah, her legs are very, very long. So we have from segment seven to 8.5. So yeah, knees are about there that height. Right now, it feels too long, but it is because legs are still too thin. We need to just volumes and everything. So yeah, don't mind the character looking like slender man. It will be just for a little bit. Okay, so now we are going to be speting up a little bit in just a second. Because at this point, what we're going to be doing mostly is adjusting, yeah, the proportions by masking and rotating, masking and moving, using the move tool like 80% of the time to get back those correct proportions after stretching the legs. So there is nothing like to complicated or interesting in this point. So we're going to jump on a quick speed up. And after that, we're going to be doing basic clothing on the character, nothing marvelous yet. We're going to be sketching it up in zebras with extract tool and some other tools we haven't used until now, so move and transpose. Okay, so as you can see, we are adjusting small things. We are also going to be defining some muscle groups with them standard just by accentuating some, yeah, like here in the ribs. We're going to pull a little bit hips back in the butt, mostly to make her look a little bit more fit and muscular because yeah, our character looks a little bit athletic. So we need to bring that up into the character. So yeah, mostly developing those muscle parts, we wouldn't really need to go for a very specific shape. Just basic anatomy, checking references if you like, but we don't really need, like I said, to be very specific. In the end, we're going for a semi cartoony aesthetic realistic be based on a cartoony design. And in the end, this is going to be covered by the clothing, most of the body, actually. So we just need to create the basic landmarks, basic volumes so that when applying clothes simulation on top of it, it feels like on the concept. But yeah, as you can see, we're going to have very plain details on most of the character, very smooth, not anatomically correct in most of the cases. I mean, silhouette wise, yes, but it also has some exaggeration to make it look more aesthetic, more athletic as well, and like human body deforms differently because of fat deposits and everything. So really, we are going for e animal but realistic kind of body. So that's why it's just polishing up those areas. Yeah, not much apart from that. Okay, now that we are getting a pretty good result at the moment, I feel that we can jump into developing the clothing. So we're going to go for the pants first. We're going to be using masking and extract for most of the clothe pieces. So now speed is going to be back to normal in just a few seconds. And we are going to be masking for the pants, like I said. Okay. We're going to check the head or where the pants are starting, which is slightly above the third head. So we count one, two, three. We get approximate to here, to this height. So we go to mask the body with mask laser like always sort of like this. It's good. Yeah, mask looks pretty good like some leggings. So now we're going to go to our body mass, make sure that it's on the third, slightly above the third one, like we said, We include that part, which was not perfectly aligned. Now we're going to go and extract adjusting the values a little bit, so it is not double it is not a sick and we create extract. That's too much with just slider a little bit. This feels better. Let's see from close. Mm. Okay, let's adjust the mask a little weight. Okay. Let's put a little bit more thickness, just slightly. And we accept, and we should have more pans. On a different sub tool right now. We have for now three polygroups like we had on the base mess because they usually transfer Okay. We're using the slice to cut perfectly the shape of the pants. Now we can isolate that and delete hidden. We're going to do the same thing on the ankles. We're going to slice height with control sf click, and then delete hidden. And now we have a straight cut on our pants. We'll go to Serums to get a cleaner topology for the pan as you can see, polygraps are gone by now because of the serum measure. So we want to make sure that the extract we used has enough, the serum mess we just did, sorry, has enough density to recreate these shapes because as you can see, the waist draws a lot of attention, and it's quite white. Same for the knees on the back and the front on the ankles. We have quite white folds and shapes. So we want to make sure that we can represent all of these. So getting back into our model, we're going to sculpt with clay build up basic shapes. One thing I recommend is to activate the back face mask and the brush so that you guys don't sculpt on the other side, but we only have one side right now, so it shouldn't have an issue. But in case when you extract it, you guys have two sides, I really recommend to activate the backface brush. So yeah, you to sculpt on the side that you are seeing. K. TAM standard, we can create these sort of shapes, both in positive and negative by policing alt. And yeah, then, repeating the process once again. It is very easy to create connection folds within rised areas. And it's also a very good tool to pull the basic shapes for any fold. So right now, you see that we're doing that dad smoothing, and it already looks a little bit stylized. Usually it is very rough right now, so it is not like final result or anything close, but it is quite easy tool to use quick results as well. And it's easy to go back and forth to create that idea. Although we don't need to worry as much because we will be doing some of the simulations in Marvelous Designer. So for now, this is just a blockout as for blockouts, one thing that I would like to mention, which is my personal opinion, but I've seen a lot of artists treat blockouts very differently to what I normally like to do. And I feel that blockouts are quite important. Sometimes when working on a team or working on a production, you guys will see that blockouts tend to be treated as just a base mess, it is not a base mess. A blockout should be a a very accurate, I would say very accurate representation of the character you're going to be producing, but created at a very fast pace. So, for example, if your blockout doesn't represent properly the weights of the character or the feel of the steelization, or the character of the character. So imagine you're doing a crpitude or maybe a really strong hero. If on the blockout, you cannot tell that. You don't see that, you don't see their personality. Then the blockout you used serves no purpose because it is not like a clean mess that you will be using later on. It is also not representation of the current character. So it is lost time. So blockout should be a not police, but they should be good. They should represent very nicely what we're going to be producing. And it is a very cool way of seeing if three D design is really working. Like, Okay, this is cool. This totally works inside the game or totally works inside the cinematic or whatever you're working on. And it's also a very very efficient way to show producers, leads or directors, your progress or how you plan to do the character, which in the end will save a lot of time in feedbacks, or a errors in design because sometimes you will see a great concept works awesome in two D, but then you bring it up in three D, and some areas don't look as interesting. So redesigns are good to do in those cases if it's not working very good. So like I said, blockout is awesome way to create this first iteration of the model, which looks like the final result if you kind of close your eyes. And will save a lot of time in production will make your life a lot easier because you will not receive as much feedback later on because you will show your clear idea of how it's going to look to your leads or to your supervisors. So basically, all this work that I'm doing right now is not really like lost work because some people don't even scope those folds. And those faults are going to serve my leads to show them before even jumping into Marvelous. What's going to be the looks of the character in three D? And if they don't like a specific fold, I can just go and try to not do this one or maybe focus more attention on another one that they like most. So yeah, that is the general purpose for a blockout. As you can see while I was speaking, what we have been doing is used, same thing all the time, using dam standard to create connection within the creases or creasing the basic landmarks for the folds, then smoothing them out, using dam standard as well in a negative way so that yeah, we define more the depth of that fold specifically. I'm using the move tool as well in case I'm using dam standard too strong, so it clips with the basements. So basically at this point is use dance standard move and smooth tools. I think at this point, it is good to jump on another quick time laps of the process until we get into a new area where I can give you some new notes on the process. But for now, it's going to be the same process for quite a while. So we'll see you in a few minutes when you see that the speed goes back to normal, after a few seconds, I'll just start talking again. Okay, so now what we are going to be doing is we're going to be masking mask curve the manual masking to achieve that curvature because laser doesn't work too good, as you can see, because we select the other side. So we mask manually. Then we're going to be extracting same way as we did with the pens. Then we're going to slice the upper part of the waist to make it clean cut. Then we're going to serums, which is the same process as we did with the pens again. We are going to size it up a little bit with a modifier of size. And then with move, we're going to adjust the sap to remove any anatomically shaped yeah trees that we have. We're going to slice that size as well. So basically, we are going to be doing same process for this for the shirt or for other parts of the blockout. There is not really much addition to the process we are following. So basically, it's always the same. We mask, we extract, we slice to make it clean. Then we move standard, smooth, and maybe du standard depending on which part. We will detail the piece, but we want to keep all of them fairly simple. Like I said, on blockout is important to give the feel of how you want to look, but we don't need to go overboard and make everything clean and nice. So the next few minutes are going to be a speed up video. Since what we're going to be doing is mostly detailing a little bit more of the pants and also extracting and creating the base for the t shirt. But since it's pretty much the same process, I will just commend you guys over what we are doing, but there is no need to see any specific detail about it, since it is same process for all the pieces. So we'll just go on and see slide overview. At this point, the only thing you need to make sure you're doing right is masking correctly in a smooth way so you don't get really bumpy borders. And after we extract, we're doing the same thing. We get some initial folds with them standard connecting areas like the breast with the armpit, so it doesn't feel like it's defined. We can fill the gaps with clay buildup as well, as you can see. But it's really just basic landmarks at this point. So we go with DAM standard great falls here and there, fill the gaps with clay build up sorry. And overall, just making sure it doesn't feel as tight as the initial extract usually feel. But that it is pretty much it for every piece. So what we are going to be doing now, it is the neck. The neck is slightly different. So let's slow this down for a sec. Okay, as you can see, we first created a cylinder, which we just position in the neck area. And what we did was we hide the polygroup that is on top and on the bottom, and we deleted it. So we don't have anything except for the geometry on the sides. So now we are going to be moving the surface with a move tool to achieve similar shape as we will have on the reference. On the display properties, like you saw, we activated double so that we can see the cylinder on both sides without having to have any thickness on it. And really at this point, this is just looking at the reference, moving a little bit here and there. Like this. Trying to make this a little bit more natural. Alright. I think that now that we have the basic volumes, it is good that we start defining a little bit more the shape with the standard, like always or two of preference. No, but to be honest, like, 80% of the time, my main tools are three, which are clay build up dam standard and move. I think with those, you can achieve pretty much every save you want. So now let's Um, yeah. So we are going to be clipping this to do a polygroup in here. We're going to hide this one and we're going to delete it. That is how you guys do an easy opening on an carve without much hassle. Now, we can serums this and start polishing a little bit more after serums works correctly. I think this should be good. Okay. Let's see the whole picture. Okay, actually, we're going to be detailing a little bit more this section right here. We want to do a cool connection, not just feel like a square cut. So we're going to bring back to where we had or removed section in a second. Let me just adjust this sac. Yeah, it doesn't work. Yeah, so let's get here. Let's just move with C modeler, with PCM is the shortcut. We're going to move the edges a little bit and remove this loop. So it has, like, a rounder shape, and when we smooth and Sims, we actually get smoother result. Okay, like this works better. So basically, we just went to siumes went to vertex mode and move with slide or without slide, whatever you prefer. I think we're ready to detail and create those big strong fold shapes that we have around the neck. This crease is a little bit more accentuated than on the back, so we're going to create the connection in between until this point, I think the back would be less strong. And we're going to repeat the same process on the other assets with them standard, move and smooth until we achieve the look we are after. This is going to be speed up, and this will be end of Chapter one, where we have videos sliced in 30 minutes approximately. So you'll see how I finish this using the same process, and we'll see you in the next episode. Y y 3. 02-Creating Clothing Part1: Hello, everyone, and welcome to Chapter two. Here we continue extracting some parts of the character in this moment we're extracting the bracelet. The process is same as before. No need to explain anything here. But for the glove, we are going to slow down for a second, because we're going to do a second layer in here over the hand to do like a small lace which we can find in the reference. So for it, we're going to be masking the previously created extract. We're going to adjust the volume slightly position the camera in an angle that we can sort of mask correctly what we want to do. And now with mask laser, we're going to slowly get the finger like so. We want to make sure we didn't select any other finger, so a little bit of rotation is good to check that out. Since we did okay. Now let's just unmask this area manually because we just want to get the finger and around the wrist. That looks pretty cool. But let's just refine a little bit more of the mask. Okay. Go to create the extract. Hopefully, it's not too thick. Seems about right, but a little bit thicker, I think will be better. Let's try now. I mis selected the other finger, so cleaning that up. And improving a little bit the wrist because I'm not too happy about that shape to make it feel clean. The trick I did is very useful sometimes. So you blur the mask and then you sharpen it. You have that in the sub menu from sub to masking. But, yeah, it is quite good to improve selection sometimes. So like this, the extra will be good, I think. Seems pretty nice. Go to serum acid. That usually helps to get cleaner loops around the borders. But still, like always, we can do some adjustments to make it better. So we're going to get some folds in with them standard, basic landmarks like before with the pants. And now through working on this part, I think, yeah, the border The border needs to be a little bit more straight, so we can go with move topological to make it better. And same thing on the other parts of the hand. I'm just going to improve curvature here and there and continue adding some basic landmarks. Okay, now a little bit of speed up. At this point, there's going to be just repeating this process of adding the main falls with them standard. And then we are going to do a mirror using Subtolmster from plugging. So first, we delete the subdivision levels. We go to subtle master mirror. Oh, we had a selection done, so we need to control set and select and redo the step. Okay. Now we have the symmetry here. We're going to mask this to create the bracelet. So for that we go to mask curve. Clip curve, sorry. And now we're actually selecting mask curve. Like I said, we're going to mask the bracelet area. And we're going to be extracting that section. This time is going to be a little bit thicker. Om, we isolate the exterior and delete the interior like always. And to do a panel loops on the border to create some thickness. Just the value to get the right thickness. And we've moved topological, we adjust it so it feels the right way. Gonna move this a little bit, so. Just want to do like a cone area, cone shape, sorry. Making the area closer to the wrist a little bit thinner and making it wider towards the forearm. We're going to select the interior and scale it down so that we make it thicker. Like so. And now we are going to start adding a little bit of detail with them standard like always. So we're going to jump again to speed up till the next part of the process which is going to be probably the shoes. Actually, we're going to quickly do here, as you can see on the video, bracelet, it is a simple step, so let's quickly do it. We do a manual mask, like we are doing all the time over the body. We do a little strat and clean it up with the trim curve once we have the initial shape and create a panel loops to add the thickness, we're going to create a box, insert a box, place it on the arm. And now we are going to be duplicating the object, isolating this polygon to create the flap of the pocket. Way lid hidden. We move it a little bit up here. Going to subdivide it with control the For this one, we are going to do the same thing, remove the upper polygon so it feels like a pouch. So divide it as well. And now we will add panel loop so that it has thickness. At first, we want to create an organic shape to it. Okay, now, we mask the upper part of the flap, we move it towards the arm. All right. I think this will be sufficient for now. We place it where we should have. And now let's jump into the fit. So for the shoes, we're going to follow similar process, but since the shoes are a little bit more complicated, we're going to go over slowly and check every step. So now we duplicated the basements. We are going to go to polygroup mode, isolate the feet and the fingers on one side, and now we're going to delete hidden to just keep the feet. Now we can hide this, go to the formation and size inflate sorry, to create a bigger volume now we're going to move and create the ankle of the shoe. So like this. We're going to be later on dyna missing, so we don't mind about the polygons being stretched. We're going to turn the finger a little bit more straight to look more like the reference, the thumb. Sorry. And yeah, A this is good. Create that ninia separation between the thumb and the rest of the fingers. So now we're going to be dynamessing the food. At first, we're going to be increasing the subdivision levels up. We need to delete lower. And yeah, this amount of resolution is enough because we want to do use them shape of the field. We don't need as much detail. We're going to clean the border like always with the slice and delete hidden. We're going to smooth the fingers. This point is a little bit speed up because at the moment, we're going to just adjust the pants a little bit more. This is for a few minutes. And we are going to be creating next the sole of the shoe after we create some basic shapes to make it closer to the reference. It is quite cool design. Feels like a Ninja futuristic snicker or something like that. I don't know, for running in a very agile way. So we're just creating the dynamic shape for the back part. We will create later on the red thing right here. But for now, we are going to be focusing on the sole and the shoe itself. So once we reach this point, we can duplicate the object to create the soil. We're going to mask the lower part like this. Yeah, create slice polygraphs, hide the rest, delete hidden like always. We're going to adjust the pivot here because we're going to be scaling that. We move it down. We're going to be doing We're going to be flattening it. And now we're going to create panal loops all for siumes and then Pana loops for it. To get some thickness out of it. So serums is looking pretty good. Now, let's just create the panal loops. What is that? Okay, hold on. Yeah, we need to flatten everything perfectly. Otherwise, it's not going to look good when we do the panal oops, this is better. But still, let me adjust with another serum measure to get rid of the rest. Yeah, that looks way better. So now we're going to be moving so up and deforming it a little bit. Let's make it thicker. And now we're going to rotate and twist the front part to better adjust the fit. So we move the pivot to the rotation point so it feels natural. I think like this is good, but we're going to move it further. Okay. Now, a little bit of speed up verson. So we have the sole ready. We're going to be masking the sides now after this quick time laps, and we're going to be doing, like, the area of the sole that is bracing the shoe. So we are actually dynamising the sole to have more density to this process. So we go here. We want to mask the area we're going to be moving and invert the selection, and now we move this up a little bit. We scale it on every edge, so it raise properly the ankle Not the ankle, sorry. So now we do the same in the front, we scale that up on the sides. And now we're going to be using move topological and a little bit of dam standard and clay buildup to create more round and detailed shape, like on the reference. A little bit of sculpting here. The things I'm trying to look at the reference to get the right proportions, the right shapes. It is mostly like negative spaces and also trying to compare different thickness. So let's say if the soil has one or 2 centimeters of thickness, then I try to see how many times that is for the areas that braise the sides. And I just try to replicate that. It is very important for Blocka that you take visual references because obviously, if you just focus on specific shapes of the shoe, it is very easy to lose track of proportions. So it is very important that at this stage, you don't focus as much on detailing or specific parts, as you see, everything is very simple. And we need to focus on creating the right fiel. Sometimes it will mean adjusting a small proportion or just changing the measure of something. So it's very important that you constantly pay attention of the overall picture and see, Okay, so this is not feeling as round as it should. This is feeling shorter, this is feeling longer. So those sort of things are what you should be looking for in this part. And also try to not mess up like I did on the salt. But yeah, the important part, it is not the quality of what you're sculpting because we're going to be throwing most of this work away. We will use it as a proportion reference and proportion base for future clean messages that we will be developing. So it's the most important thing is that you really, really, really focus on silhouette and proportions and separating. I think at this point, because we are doing the same all the time with clay buildup and move until we achieve the right reading, we can speed this up a little bit until we get to destruction of the red section of the hue. So we'll get back at that point. Y Okay, so our shape is mostly ready. We are about to slow back down and do the red area, which is going to be masking the shoe. We create a duplicate like always, we're going to be slicing the area that we want. Remember to press Alt when you're done with this mask because otherwise it will mask it will not mask the opposite side to what you want. So we're going to start off from this purple polygrp move it up a little bit. And I think we're going to write away the serie measure before slicing anything or adding the panal loops. Hm. Yeah, I don't like that area. Let's go back a little bit. Slice it from this angle, which is going to be better for sure. And now let's try serums. Yes, that is better. Sometimes depending on the angle you will catch a angle and about polygon and yeah it will mess up your work. So it is good to go back. Okay, so we move this up. Like I told you before, what I'm trying to do here is sort of to catch the overall feel for the shoe. Like just checking the distances between the tips of the toes and this red section. Also try to see how it opens and until what point on the leg it gets. And yeah, just trying to get that initial feel. Obviously, it's not going to be even close to final at that point. But as you can see, I'm not focusing on any cleanness on this point and just really rough sketching to get those fierce landmarks and everything and get a sense of what is going to be the shoe. And even if you don't finish one part of the lookout, um, the more you add to the blockout, the more easy it gets to understand what's not working or what it is. So it is good to jump from one piece to another and keep adding, keep adding until you know this is okay. So this is working, this is not working or whatnot, and you keep improving the design. So this part is quite speed up. We are not really adding much value to the design. We're just adding some volumes on the soil to make it more puffy and more, like, sporty, like in reference. Policing a little bit the angles. Separating the front and the back piece and really just masking, rotating, just working those sections, so it feels a little bit cleaner, a little bit more like in the concept, but not really doing anything very essential for it. But what we will do after this is going to be adding the straps and the laces and the backs that the shoe has and also the backside like straps the piece that goes like the back laces, I don't know how they are called. So yes, you can see we're just polishing a little bit more those areas. Like still in a very rough way, we're preparing this to be later on the high poly. But at this point, just policing the shapes a little bit more to get closer to the right design, making the field areas on the sides, making the whole design a little bit more round. But now let's go and do the front part. So we're going to be masking like always. For the side strap, we use the mask curve, which allow us to do like a straight strap, which is going to be easier. Now we're going to be extracting this. I came pretty good. But let's go on do the same process of serumsing and panel looping once we're happy with the serums. So this time, we're going to be doing the panel loops slightly different. First, we're going to remove those loops with Cmdlar like the ones we used to remove, sorry. And now we do the panel loops once we're happy with the position and shape they're placed in. Okay, once we have that, we're going to be doing the front part on a very similar way. But instead of extracting, we will be doing an insert with a box. So let me just check this out. Okay. So we're going to be inserting a box now. We scale that down until we have some sort of similar volume to what we need to do the separation within the toes and the thumb. Let's place it there, scale it a little bit more and position it in place. Let me just as well this area. So you can see every element that I add. It helps me understand the rest of the volume so that allowed me to see that the red section was too big on the front of the feet, so we had to scale it down. Now we're going to do a curve curve tube, actually, from the center, sorry, within the toes and the thumb. Just to do that rope right there. We pull a little bit to put it in place. And there we go. Just moving it a little bit, so it feels more natural. But hey, we're already starting to have a pretty good feel for the whole thing. Feels already like a solid design. Now let's go jump and do the buckle things next. So let's tweak this a little bit, and we'll jump into the buckles in a second, one sec. All right, this looks cleaner. And let me actually quickly adjust those things on speed up erson so we can get the shoe a little bit more prepared for the buckles and the back laces that we are going to be creating in just a second. So some adjustments here and there, and we are good to create the box for the buckles. So let's go here, insert another box. Going to rotate, scale a little bit, put in place. It's going to be like just buckle blockout, not like a really final design or anything, but just to also help understand the design. To be fair, what I mentioned before about the blockout having to be representative of the final result, even if it was not as clean. Normally, I don't go this far, so maybe I will not do these buckles. It will be just a box, which by the way, we are doing by adding a bullion right here. So normally, I will not add these buckles. I will just do like a box and same thing for the rope and some details that we did. We'll just keep it slightly more simple, just for the sake of effectiveness. But since this is for the tutorial, we want to make it look good from the beginning, we're going this extra mile with a blockout. But just keep in mind that probably this is not necessary for a production thing. So this is just like show you guys a little bit more of lockout process. Also, for this kind of stuff, you could easily instead of just throwing a box, you could easily throw a kid bass buckle that you have around or maybe a buckle from another model that you did before. So yeah, this is just for entertaining purposes, let's say. So yeah, we have this buckle in place. We're going to just duplicate it, move it to the other side. And we should be good for the buckles. And after we put this in place, the only thing left that we'll have to do for the shoe, I think is the back laces. We obviously need some thickness and some stuff, but I think that will come later. Let's finish the straps thing. Okay. So more detailing in quick camera. Now, we will grab we reorganize the scene a little bit, as you can see, and we will grab the connection we had in the hand between the fingers, and we're going to be using this as a duplicate and move it down to the back of the shoe as a back lace. So we're going to be placing this Yeah. A here. But we're going to do some more adjustments. So it looks nicer. So first stuff, we're going to grab that part. We're going to move that up all the way. And also, we're going to grab the move tool and move it in so it feels that it's attached to the shoe. So the rest of the process of the shoes is going to be speed up. Since we are not doing much changes, we are just refining some of the shapes using the move tool, adding really small folds, and we're going to be doing panel loops for all the pieces so that we have thickness on them, as you can see in a few seconds, but that's pretty much everything. So we are done with the shoes for now. We're going to be finishing Chapter two in just a second. And after this in Chapter three, we will be covering the creation of the rest of the pieces for the blockout. So enjoy the rest of the speed aversion and see you in Chapter three. 4. 03-Creating Clothing Part2: Welcome to Chapter three. We continue to extract some of the new plates and cloth pieces for the character. As for now, we are asking for the chess piece, extracting and polishing a little bit with smooth the traditional tools we are using, now we're going to stop for a second because we're going to create three poly groups to create this separation right there. So we need to split this one as well into asking this then grouping by mask. I think the mask works. But let's improve it slightly. Okay, no mask polygroups sorry, polygroup by masking. And now we are going to do seri measure based on groups so that we have a sharp edge on each group, and then we're going to be doing panel loops with the option changing the elevation and the amount panel loops. It is important that we enable the groups option, otherwise it will not do it like this. So by tweaking the thickness and the elevation, we achieve a result that we consider acceptable. This is what we're after. So ideally you want to play with loops, elevation, thickness, and bevel to achieve a similar result to what we're seeing right now. But this looks pretty good. We just need to refine a little bit the curve that we're getting here, so it feels smooth and correct. But again, this is just for blockout purposes, so don't stress too much. Like, this should be okay. So now we're going to speed up a little bit. And next thing we're going to be doing is the rest of the plates on the chest, on the arms, and we're going to follow a very similar process. We are going to keep extracting. Once we're happy with the silhouette, we're going to be doing panaoops with pebble, so it feels like a thick plate. But for the chess piece in particular, we are going to be doing polygroups. So what I'm doing now is just masking the overall shape that we want. Once we have the plate, the full plate, symmetrical. We are going to be doing polygroups, so this will be the first group for the sleeves. We'll slow down in a second bet for this part, which took a little bit longer. It's more fun to watch in speed up. So now that we have the leaves separated, as you saw, I basically did the same thing. Just try the panalops and see how it looked. So that's me going back and refining the mask to make it look more clean and just around the shoulder. So it feels like more professional, more like craft well crafted armor. Now going back to the first layer of the shirt to adjust it with the underlaying armor, same for the breastplate. Same for the neck, small adjustments to bring everything together. Like we mentioned before, every time you add a new piece, it is good to reevaluate the shape of the others, watch for negative spaces, watch for the new silhouettes that it creates. So now that we have a pretty decent looking chest plate, we're going to be doing the groups, we slow down a little bit. And we need to align the mask to nicely fit the breastplate that we have on the right breast We want to keep the group similar to what we see on the reference, as you can see, it has multiple pieces on this chest plate. So we need to polish these masks. We're going to be creating polygroups on all those sections. Then going to extract those masks and yeah, do the same thing as any other piece we're working on, create polygroups for it, do the extraction, do the panel loops, and refine a little bit until we have shape that we like. So now we are masking the back piece to create a new polygroup apart from the breast one, and we're going to be hiding a loop around the neck, this one and this one and the one on the back. To create a new polygroup from that selection with transpose, we Control click and those polygroups on the neck, we isolate them, and we're going to once that's mask, create a polygroup for that next section. We're also going to slice it in four sections by hiding this loop and this one and auto groups with that. Then we will have those four polygroups on the neck, the one on the chest plate, the one on the back, and we're going to be doing like the harness piece on the back. So we are doing this mask. I know this is quite a speed up, but to be honest for masking and polygroups, I don't see that there is much need for explanation in there. We're just really masking and clicking either auto groups or group masked or group visible. So those three options. And we really need to just hide some pieces and mask the new shapes that we see on the reference. So now, most of the pieces are already grouped, so we are about to proceed to extract those pieces and create the plates, which are going to look awesome. But Okay, now that we have all the polygroups mostly done, we are going to be smessing with groups option enabled, like always so that the smess create sharp and continuous loops around the polygroup border, so like this, and it increases a little bit near the border. Now when we panel loops by groups, you already see that we have those separations very nicely done without much effort. Now, the thing we're going to do is tweak those polygroups because some of those areas are going to look way better if we work them separately. So we are going one by one, doing the panel loops by groups. Reworking some of those series measures in case that the topology in that area is not working as good. And tweaking the levels and elevation, thickness, and loops on each pan loop to achieve the result we're looking for on each piece. So like I said, it is best idea to work individually on each of those sections rather than altogether, otherwise it will look very similar. Also we want some of them to be positive, some of the negative so that we have those difference in the reading of the plate. So as you can see, without much effort from an original extract from the test, then some polygrouping on top of it, some serumes and panaoops, we can achieve a fairly quick armor design as a blockout, again. But still, it has quite nice reading, I would say. Now we're going to get an add some last twigs. And now we're going to get to work on the shoulders a little bit. So let me first clean this up a little bit. Okay, time to work on the shoulders. So first, we duplicate the base because we're going to be creating a new polygroup section like always with a good mask, following what we see on the reference. And once we are happy with the overall shape, we are going to get creating a polygrup serums by groups. And once we have that, which should be about now, we need to make sure the density of the serumes is good enough. Now we can actually play with Pan loops and create that extraction that we like to get. And just like that, pretty quickly. Obviously, pretty quickly in the speed up version, it took a few minutes. But pretty quickly, we achieve secondary shape that is going to have a nice reading, and with our very lovely tools of Move topological and dam standard, as well as smooth, we are achieving this nice silhouette reading and by masking and moving a little bit, we're going to get here a second differentiated volume. You'll see that we are going pretty quickly over blockout because in the end, it's basic ZebrsTolset. I'm trying to give context, some explanation, but in reality, this is fairly simple. And we will jump in more detail into techniques later on in hi poly and Marvelous designer stage. But for now, this is the same process all the time. You see one, you see it all. So basically just stopping and giving some more context in case some piece is getting a little bit different from another. But in the end here pretty much everything is the same. Here, we are just creating an insert mess of a cube, which we are going to be applying as a boolean mess here. So we intersect it. We select both and we change the boolean type to the second one. Then we just have to activate live boolean. And there we go. So this is the basic result for the boolean. Now we can just move it around because it's live boolean. It allow us to just move any volume that we activate on substract boolean mode. So any change that we do to this subject will be reflected on the Boolean. So now we can took the options for a panel loop of this piece. Of the arm shell, and it will always have the boolean applied on it. So now if we scale the volume of the boolean, it will be smaller if we scale it up or move it down. I will also change. And if we subdivide it or we change the shape, it will also be applied real time. So we just need to look at the reference, see how it looks, kind of apply one on the front then one on the back. And with C modeler, we are going to be removing the border edges, so it looks a little bit more rounded like on the reference. We're going to do this in both. But we might change more drastically the shape. We'll see. I mean, like this works pretty nicely by removing the corners or it feels more rounded. But yeah, so far it's looking pretty nicely. So I think that we are going to leave it here. Actually, I will apply the Bollon and now that I have applied the Boolean creates a new object that I just inserted into the scene, and now we are just going to be serimesing quickly this so that it has a cleaner topology because booleans mess up the topology a little bit. But apart from that, we just have to do the panal oops, and we're good to go. So now we're going to quickly do the arm section, the elbow, sorry, which we are going to do inserting a cylinder like this. And it is going to create some section for this extract on the forearm because we need to make it feel like a robotic arm, so two sections, one connection. And yeah, for this section, we're going to pretty much do the same as before, read polygroups on the areas that we're going to be cutting off or extracting with mask curve like lwys and just work around the selections so you can hide like clean polygroup sections. The useful part of that tool of mask curve is because you can do clean curves and alter the curve attire by pressing Alt or double Alt. And now that we have sort of like a base armor section for that, we can hide the under arm, duplicate the elbow cylinder, and we're going to slow down for a second here to show how in C model, we add connection in there. Another one in here and on the other side to do a beble. That way we can make for a rounder cylinder. And those are the super loops that we are adding on the side so that it stops flat by that point, sorry. And we have, like, a more rounded aesthetic, which looks a little bit more stylized, which is nice. So there we go. We have two sections, two plates, which we did both with booleans and both with hiding groups. You could do both plates either way by using booleans or by using poly group sections, but wanted to display both for you guys. Now that we have sort of the sap finished, we need to make sure that before doing panel loops, we have a proper round aspect and smooth. And now we just have to do panel loops on that with the amount of thickness, elevation, loops and bevel that we like, and same for the forearm plate. Okay. I mean, I mean, I'm not too happy about how the topology is going near those corners. So doing a serums can solve that issue sometimes. We need to play with a value so that we can get properly distributed loops. What we're looking for is not to stretch loops near the corners. Um yeah. This still doesn't look too good. Usually it's good to try to play changing from legacy ser meser, changing the density and doing tests, changing those options until we get something we're happy with. But to be honest, it's proving to be tricky now. There is this corner which is not working. Let me change this and see. Yeah, this is not too bad. Let's go with this. H. Okay. Okay, I'm pleased with this. I mean, like I said, don't sweat it too much. It is just blockout for now. So let's go back and do more pieces. We don't want to be here all day, just doing a very perfect and nice piece. We want to create just the overall feel, weights, and shapes for everything. So it's important to keep adding pieces with an acceptable level of refinement, but not too much so that when we add those, we can go back, like you said, like you are seeing right now to the shoulder to the joint, and adjust the proportions in there. Uh, because yeah, new pieces mean more measures and more saves that you can use to compare to the reference and see what is working and whatnot. So, yeah, it's important to don't get stuck too much on certain parts of the blockout. So you try to make it look good, but if you see that it's taking too much time, normally it is not going to be production friendly, so just hop on into something different. And yeah, you don't need to finish every part perfectly until you continue. So now, this is going to be a little bit of speed up since we are just going back all the pieces we created, sculpting a little bit inside them, so it feels more like a robotic arm with clay build up, dam standard or very lovely tools. Trine dynamic we're using there to flatten that out. Nothing too fancy for now. And hopefully, this arm is going to be feeling more robust and more robotic because she looks quite fit, quite athletic. So the arm needs to be in line with that. So it needs to feel like muscular, but at the same time robotic, which I think we're doing a good job about it. And we are hopping back into the strap here. We're going to create it with curve strap. Also very useful tool. But, you know, with curvetrap, you always have the issue that the orientation of the curve is not too good. So we ideally want to remove all the sides except for one of them, the one that is facing us, and then we can trick and adjust that one. Because as you can see, it gets messy on the curved areas. By pulling, you can sort of fix it a little bit, like we did on the back like we are doing here now. But it is not perfect. So it is always good to get closer, remove the polygons on the back on the sides after some pulling. But I don't think this is going to fix much. Okay, so let's click on split on Musket parts. So we have the object fully splitted in a different up tool, and now by clkin on outer groups, it should have different sections for each of those poly sorry faces. So we're going to be removing all of them except for the one that's facing us. And now it's easier to work with this one because we're not going to get twist the sections, and we can use panel loop after we are done toking the shape, which is going to be a lot more effortless. So we can just get moving this part. And now, this is going to be a little bit speed up because I just took too much time adjusting that. So it's just me adjusting the strap, creating the panal loops to make it look good. But it doesn't have too much. I just I don't know why it took so long on this. So yeah, now it's adjusted. It has the panel loops very nicely done. So we're going to be doing the buckle that goes under the armpit. Again, we insert a box, and we're going to be working with Cmdular for this. So we just sort of scale the box to the proportions we want. We place it where we like. Okay. This should be better. Just comparing to the ref to make it as close as possible position wise. Yeah. Okay, so we see that the buckle has this bevel on the sides, and it also feels like it has a crease on the base. So first off, we're going to just keep it here because the curvature is so much, it is not working too good on all the angles. For it to be seen both in the front and the back, it needs to be under the armpit, which doesn't really convince me because both is going to clip more and also it's not going to be seen as much. So probably one of those concept things we need to adjust. Although we could put two bucles or a very long metallic piece there, but we're going to go for a small buccal for now for the blockout. So we go to C modeler. We're going to be removing the edge on the corner so that we can make it feel like a big beble. We're going to get rid of all the others to make this a little bit more of a big pebble. And now we are going to be selecting those edges on the bottom and creating extrude, sorry, extrude, an extra loop. And that extra loop, we can mask it with mask laser like this. We can invert the mask and now we can scale it down a little bit. We need one more loop, one sec. So we go back to some we add this extra loop and now this extra one on the other side. This is to avoid for it use deforming the sites. Now we need to mask that loop again because it kept the old selection, invert this and shrink the selection, the polygroup. Jesus, I'm making a mess of this selection Osc. Yeah, there we go. Now we scale this down a little bit like this. And now let's preview it looks. That's about right. All right. I think some extra loops are going to help with the shape. We can put those near the corners super loops, similar to what we did in previous tutorials on the Knife one in case you have seen it, and in case you have missed it, I really recommend it. We show how to do very nice similar techniques to do all these things in a more advanced way, I would say. All right. I don't want to take much more time in this, so I'm going to speed this up, and we'll see you guys in Chapter four. 5. 04-Creating Belt: Welcome to Chapter four. Now we're going to go and start the belts, which is going to consist of inserting two cylinders, removing the caps, leaving just the outside area. And now, since we can modify these polygons without creating much deformation on the inside polygons, of course, we're going to adjust them with move mostly, but we are also going to use smdular to move the vertices on the upper side to adjust to the waist. You can also select the loop or the interior polygons to move them and scale them together. And once we are kind of happy with the curve they have, following the reference, we will just have to remove the caps and create with panel loops the volume. Same process as before. We are always playing with the same values. So a fairly easy task. We play with the width, sorry with the thickness with the bevel, with the loops until we are happy with the result we're getting. And if we do any twigs, it's going to be mostly with S modular removing some of the loops near the border to achieve a different smoothing finished. Once the belves are ready, we're going to jump on these pockets, which are going to be pretty similar process to the one on the arm. So we're going to grid these two boxes as a base. First, we're going to do is to remove some of the caps to grid the flap by duplicating the box and removing the non desired polygons, masking the areas of the flap that we want to modify, doing a slice on the coroners, same thing as we did on the next scarf, exact same process here. Once we have sort of the same shape that we want to go for, we are going to group by faces this box, and then we are going to do a panel loops by groups like we have done a few times before. And this will by toking the values, we will get this effect of having different patterns of clothe sewed together. Now with polyframe activated, we can see that they're separated in groups. We're going to do the same thing on the flap later on. Maybe serums before because it's too dense like this. Okay, so now we have pretty decent base. We're going to back to spit a version. We're going to create the decoration that there is on the flap by inserting a box and removing with similar most of the edges and beveling the surface so that we achieve the shape, then inserting these capsules, stretching them, and applying them as live bullion like we did before. We need to do that on four of the corners. And once we have that, we will have to serumes together the box together with the bulling applied until we achieve a topology that can be welded together and can be smoothed together correctly. So we need to serums a few times. You will see me here. I'll slow this down. So you'll see me here, serumssing and tweaking the parameters of serums until I achieve a topology that differs from this one, which at the moment is unusable. By keeping groups, rising groups, sorry, and using legacy, we can achieve this sort of connected result. Which which not always works. So we might have to go back change the density of the bullins a little bit to make different layout of topology and see if then by serial messing, we achieve a good result, which can happen sometimes because topology can be tricky. This looks quite good, to be honest. But let's try with a loop in the middle of the box, and maybe now it's going to look better. Let's try. Okay. We're having some issues, which is normal for these kind of shapes. An easy way out of this would be to just dynamise this and apply a police with the formation, which you guys can do if you prefer that way. I'm just trying to get a good result by using clean topology, well, sort of clean topology. I think this could be sufficient? So let's remove the other pieces which we are not using and get back into the next piece. This is going to be the under part of the flap and the buckle and the loop connecting both parts. For the buckle, we are going to use to reuse the one from the shoes and mask half of it, stretch it out and thin the lower part a little bit like this. As you see for blockade, it's good to be resolutive. So sometimes it's way better to reuse stuff you already have around. It will make your work out faster. It looks good most of the time and not as noticeable if you took it enough. So we're going to remove those areas which don't look as clean. Probably simss them. An Walla looks a lot better. Let's try with different settings. Because by groups is going to work with her. So we can polygroup by normal here. So let's do that and see. Okay. Yeah, we need to group this visible together, so it doesn't do weird things when we serums. And now I think we can serums again. Yeah. That's better. Let's try now. That's not too good. I think it's getting some information from a group and it's not doing a proper serums in some areas. So let's try with this. This looks much better now. I think this is what we're after. So now we can the mask and do the same modifications we did before, but we're using tapper in the formation so that it looks a little bit clean. We just need to get the right angle right axis, sorry. Now we can stretch this, elongated a little bit it is important to have the pivot set on the right direction, otherwise we will get that weird deformation. And now we can have this piece just a little bit more clean than we had before. We're going to insert a box for the strap now, remove the sides, adjust it, and then use panal oops, like always. Just on a speed up version because this part is going to be fairly lazy. So after that, we're just going to sculpt a little bit with them standard with standard brass with masking and inflate for the borders, like you'll see now. Yeah. Here. So with this, we just want to improve a little bit the blockout for the pouch. Once we have this ready, we're going to duplicate it put two units around the waist, and then we're going to work on the underneath piece on top of the tarp that we have. So we're going to be masking, extracting the selection. And just like any other part we created, we mask, we extract. We slice sides to make it cleaner. You'll see in just a second. Like this. And once it's looking clean, we will remove the sides and use the panal loops on the piece, serum as before, and then panaloops. So you guys can see it's pretty much the same process throughout the whole blockout of the character. Technically, it's quite easy. Once you learn to do one piece, you know how to do all the others because it's all the same process. And yeah, that's why we are speeding up this version because it will be quite boring to see 10 hours of the same extracting, serumsing and panal oops all the time. So this way, you guys can see the workflow a little bit more on a more entertaining way. So yeah, next thing we're going to hop on is we're going to be working on the belt buckles. So first, we'll do the middle buckle and then the one that's holding up the pouches. For the buckle, we are going to be inserting a box first. Then we scale it down to better match the reference size. Then we're going to be removing the front and the back cap because we want to do a ring buckle so it doesn't have a center part. We're going to serims this before Yeah, before doing the pan loops. And we're going to try. So we need to scale it down, put it in position, and then we will do the panel loops to avoid any deformation. This is a duplicate of the piece. We're going to scale that down and ser mess it to create the middle pin of the buckle and rotate it and make it seem like it's going through. Then we panel loops the sides just like this. We can trick the values a little bit to make it look more solid. But like always, we don't need to stress too much about leaving everything super nice and clean because we will be scrapping that after when we jump into high poly stage. So for now, you get the overall proportions, create some good looking pan loops for the blockout. And Yeah. String to figure out a good curvature on the corners and a proper amount of loop definition. So it looks like I want it to look, but we might need to adjust this with similar removing some of the loops because I don't really want to have the curvature in there, but it's just doing it. So I'll just remove manually, all these loops and leave the transversal ones and then smooth, and I think it will look just like I want. Yes. Adding some super loops here near the corner so it doesn't smooth like a circle. It's quite tricky to click on those edges from far away. Sometimes it's good to enable on Samdler the ignore option when you're working just with one kind of selection. We now are going to rotate this a little bit to put in position, make it feel like it's a belt buckle. Uh, Now, we're going to adjust the belt a little bit more so it feels like it's bending by the belt. Sorry, by the buckle. I'm so focused, I don't know what I'm saying. And then we are going to create the other buckle. It's going to go near the pouches, so a little bit faster now. For this one, we're just going to do something simple with a bebel. So we're going to just the scale of the box, like I always get rid of the sides. We just want the top part. Maybe we'll keep it actually. Let's see rems. Let's get rid of these loops. Yeah. I think this initial shape is better to try to remove all the sides and all the loops, and now we are going to be paneling this. Let's stick the values to get a simpler Yeah. Like so. So yeah, let's create the panal oops, smooth it out, and then we want some we want to duplicate this because we're going to be overlaying one on top of another. Just not too sure about the shape because I might want to do like a bubble or something. So let me play with this a little bit. Maybe not as much like this. Yeah. So here we're creating the duplicate with Control and drag using transpose. We scale it down a little bit, and we move it up. That way we get a pretty solid piece with a very simple process. So good trick right there. Going to bend it a little bit, masking it. It is very important to work with poly groups, otherwise, creating these maskings. For certain areas will be a lot more tricky. So yeah, try to keep them up all the time you can. We're going to create one more piece so that it feels like a clip. H. Now, we slice the borders to make it feel a little bit more sci fi and cool. We're going to serums this again. One more time. I'm slicing this because I'm not getting the stricter I want. This is a disaster. Is B valid as well. Okay, this looks better. I think I'm rolling with this. I don't want to spend much more time on here. It's going to police this a little bit with move and go for the next buckle. We're going to be duplicating this as a group. Put it on the other side. Fit it properly to the belt. So next thing we're going to do is we're going to insert a plane to create the back pouch from the reference. We're going to pyomize it to lower the amount of polygons. We're going to be creating the sections with C modular that we will be needing to extract the different pieces. We're going to create a duplicate of the plane, another duplicate, and so on as many times as we need. To create like this the Moya sections of the panel. So by creating the initial plane, we created the second tab. Now we're creating the first belt loop. We use Moove, we created the curvature, and now we just need to locate it wherever we want, scale it down, duplicate, and once we're done, we will just panel loops. As you can see the same approach for everything, it is fairly simple and doesn't require to give much thought to how you're going to approach one specific piece, at least on the blockout stage. I need to be like getting as many pieces as quick as possible and simpler, the better because here we're not looking for quality or refinement. Here we're looking for speed and representing properly the shape. So talking about shape, next thing we're going to do is to adjust the shape for the planes a little bit better. Make this one thinner and smaller. Now we're going to sculpt some detail on it. To make it feel more like cloth and not so industrial. So with inflate, we create a little bit of deformations here and there. So it feels like a little bit more puffy. Same thing with the standard. We just drop some random brush strokes around there. Like I said, not quality, creating the feel for how the piece looks initially. So it doesn't look so stiff. So basically standard and smooth, trying to simulate some folds and some fill inside. Thumb standard, we can accentuate the borders a little bit more. Now let's go back to this. Let's create panal loops for them. Smooth them out. Now, same thing, we're going to move and make them feel a little bit more natural. W transpose, scale this up a little bit more. I think this is more correct checking the reference. Please remember that I have the reference on the other screen. So during this tutorial, it's important that you guys have that open on the left or right screen if you have one. If not, you guys can use Pure ref, which is probably you guys already know about it, but this is a fantastic software to visualize references while you're working. So you can open the reference on PureRef. You can set the option right click and in PR ref of always on top, and that way you can have your reference on top of your Cebus scene to compare all the time, because in blockout, the most important thing is to be comparing proportions, negative spaces, and volumes. So it's essential that you guys have it. Otherwise, all these props that we're getting through wouldn't be as easy to get. Also, keep in mind that we are doing a little bit more realistic version of the concept. So that's why we are not worrying that much about certain things, but we are giving more attention to others. Okay, so jumping into the pants, as you can see, I just isolated one of the loops, and I'm going to isolate the other one. This one is to create the separation that will be created later on in Marvelous designer from two different patterns. This is what we are going to be using for seam line of the pants, which is normally where you would see real pants cut or suit because as you know, they are created from flat fabric patterns. So the union usually is on the sides and the inner sides as well. So you just trying to get that polygroup that it's going to be easier to work with. We're also going to the polygroup for the sort of patch that we have on the sides, which is kind of like rounded. So we're going to mask that manually. And at this point, we're going to jump into speed aversion soon because what we're going to be doing for the next few minutes is masking different areas of the pants to create the same patterns as we see on the reference. So we're going to be doing polygroups for all that. And after we finish with the polygroups the ones you see here, for the pockets, for the side panels, and for the initial patterns as well. Once we're done with those polygroups, we will be panel looping by groups like we did previously with the chess piece. And with that, we will have different subtols to work with. As you can see here, I'm creating more groups, and I'm going to be doing that during the next few minutes. Since there is not much addition and explanation to do on this because we just did that before with a chess piece, I'll let you guys enjoy this in speed up version, and we'll see you guys in the next chapter. 6. 05-Creating Cape: Welcome to Chapter five. So after doing the pul groups for the pans, we're going to keep improving them by starting to do some folds, sculpting with the same method as always like using dam standard, Mool smooth tool. Keep rocking same techniques. Later on, we're going to do some more grouping for them to polish some details. That for now, we're just going to accentuate the saps we see on the reference. Yeah, using the dam standard brush. Especially the hip side, you can see here that it is quite pronuncated. Even if we are doing a realistic version of the model, we still want to accentuate those things and keep some amount of stilization So we're going to get some folds here in the middle section. Alternating between the positive value for standard now and the negative one. We're going to speed this up a little bit because it is the same process as before, but check out how we are going very smoothly about all the details that we see. Here for this detail, we just click and then with sift and drag, we do a continuous trace for the sides. For the majority of the folds, we're just going around creating the rhomboid shape, you can see here, which is creating yeah, like a rhomboid structure throughout the folds. That applies for sleeves, pant sleeves and every sort of cloth construction. You're going to stop for a second, speed up to try do a detail here by hiding those loops and masking them. And we're going to try create an interesting double reading or sorry, following this selection. You need to be careful with the ones I'm selecting. And Oops. Yeah. That one. Now I need to invert the selection, go to the formation, inflate balloon. We're going to use a negative value. I'm not too convinced, to be honest. Not sure if I should keep that. For now, I think, let's skip it. And let's go back to a little bit more detailing for now, the faults are quite simple. Yeah. And we're going to create the strap here. We will also duplicate one of the faces from the strap and remove all its loops to then do a panel loops on it and create the metal buckle in the end of it. So we're going to do that about now. So we isolate those polygons, duplicate, remove all these loops we don't need. Then panel loops, add some super loops, and taper it a little bit and subdivide it. We are also going to create the hoops. The cape, which is going to be started off a plane. In this case, we are going to sort of place it in position then we're going to just with a little bit. Okay. I need to move this a little bit and just select this blur the mask a lot. And I'm going to scale this and move it in a little bit. Like this, and rotate it so it fits nicely the curve of the back. I'm going to stretch it down a little bit. Yes. Mm hmm. At this point, I'm going to create some initial folds. Let me just quickly do it. We're going to, we just want to break the flat shape a little bit. So since we mostly have the main shape, we're going to make it feel more natural by angling this down a little bit with rotation with symmetry, placing the pivot on the side of the plane. And we can smooth the pinch created by the rotation and get to where is this? Yeah, we're going to create some breakdown with them standard. Sorry, with the standard, I meant. Use some loose falls coming from the back up to the butt in positive and negative. And yeah, use the basic thing to make it feel more loose, more of like a hanging cloth rather than just a very solid carpet. We can intensify the initial landmarks we created. Just trying out some folds here and there. I'm not too convinced by the initial base I had. So we are going to create some secondary faults coming from different directions and see how that works. Okay. I think as for the cape, we could use some more curvature here. And if it doesn't feel like a hanging cloth anymore, but it will be more interesting visually for the character, Although next thing we're going to be creating because probably the cape is going to stay like this. It's going to be the belt loops. So use the rings that go around the belt to add some more interesting reading to it. So we're going to start off a cylinder where we are going to remove the caps, the upper and bottom cap. Just like we did before with a buckle. So we're going to pulley groups by angles, then remove those caps. We're going to be displaying double so that we can see both sides. Removing some of those loops to create, yeah, like a belt loop shape because we don't want it to be cylindrical, we want it to be like a rectangle with angled top and bottom. And now that we have this shape, we just need to yeah, do panel loops like always, making sure the parameters are correct. So play a little bit with them until we achieve what we are after. Like this. So now that we sort of get what we get, sorry, we sort of get what we want. We're going to rotate it, put it in place like this, angle it a little bit more and scale it. And once we sort of have it in position, we're going to try panops again. Yeah, this works pretty neatly. Let me tweak this and see. Okay, that is nice. So now, let's just quickly duplicate it, place it around on the positions that we have on the reference. And we should be done with the bell loops. It's so hard to pronounce. There you go. And now, I'm going to jump back on the head, and we're going to start sculpting the hair. So first of, we're going to create this sphere to create the main volume for the hair. We are going to use Move now to adjust it to the skull. So we need to first off start off from the sides. At this point, I'm not really looking to create a very exact shape of the hair because we will be carrying that later on in the Indian version. So we're just going to create a sort of representative idea. So we go bit by bit moving and smoothing to adjust it to the skull better. Okay. Okay, so for the ponytail, we're going to use another sub tool as well as the front loose hairs that are going to be represented by a stretch sphere. So now we're going to do the pony tail first, which is going to also be started by sphere and then move topological and just try to create that curve, which sometimes is a little bit tricky. So we're just going to get the main thing going. Get the main block in position. And we're going to try C. With pinch, we can actually achieve a pretty nice, like a stretch effect near the rubber thing. But for the end of the ponytail, sometimes it's easier to try with this other tool that we are going to see in a bit. Let me just create the rubber n real quick. Okay, we can pinch here the end of the ponytail like this to achieve like a morphine result, although it's not there yet, but it is something for now. Here I'm just trying to get, like I said, not really trying to get into concept shape. Just trying out this tool. I'll see how it works. Not very convinced, to be honest. Um, so yeah, I'm used trying to create like aesthetic aesthetic shape for the whole hair. Um, now we're going to do, like I said, some loose hairs on the forehead and also some sculpting on the main screw, but nothing too complex. So, I mean, here we're not really going to see how we cover her production because that will come later on in real time version. But rather here, we're just going for something like aesthetically pleasing. So it works with the rest of the blockout, and it doesn't look like a bold character. I'm going to speed this up a little bit until the point that I start off with the loose irs from the forehead. Okay. Here, we're going to start off as well by inserting a sphere and escalate it down to make a close to a cylinder as possible from the sphere. The reason we start from a sphere and not from a cylinder is because this way we already have tapperd ends to simulate the tip of the hair and the root. So just by using a little bit of inflated negative value, we already achieve this effect. And then by using the move tool, we can already achieve a prens result. Then with masking and rotating, we can achieve pretty good curvature and yeah, just like that, we can get a clump of hair, which we are going to be placing a little bit in position and then just duplicating a few times and adjusting individually to create a composition and a hair look similar to this one, but not as stylized for now, although we are going to be flattening it up a little bit. And remember, this is, like, a more realistic version of the concept, so it's not going to have such an anime hairstyle. So this is just going to be a quick representation of a more real hairstyle, similar to hair design. So here I'm just duplicating, masking and in case that I want to make the hair shorter, I will delete heading and then dynamze the hair again. So I'm just doing this and transforming the hair with move tool, conforming to the overall head curve and trying to represent the hairstyle as best as possible. But as you can see, is mostly just rotate and move most of the time. Um usually, if I'm doing haircuts, I will try to follow Well, please first, I will look for more references, and I will try to follow the path that I can see on those reference to create a more natural construction for the hair. But in this case, because like I said, we're just blocking and we don't need to be as accurate. We're just like placing out of memory and just looking the reference from the concept. And now we're going to start off sculpting the hair a little bit more. So just before that, we're going to adjust the forehead clums a little bit more and the ponytail to create a nicer curve and flattening those hair clams in the front. So we need to inflate them a little bit more, and we're going to use clay build up and trin dynamic to create a more flat surface like this one. And we're going to play again by duplicating, rotating and moving them because before they were feeling too cylindrical, to be honest, for what we are after. I feel that this is going to work better. Also, it is a good idea to try to overlay them somehow. So try to try them making intersect, especially just keep a layering of them. And now that I'm sort of happy with that, I'm going to start sculpting a little bit more. So with the standard, we're going to create some guidelines of the hair direction. Try to merge it with her clums so it feels sort of integrated. Still adjusting stuff here and there used to get something that pleased me more aesthetically. And at the at the same time works in the amount of sterilization and yeah detail that we want to achieve. So now let's get some basic brush strokes here. Okay. Just the basic marks in negative, sorry, in positive, and then with negative, we will create the sort of like trimmed hair clams as well. So both the forehead clams and the main school have the same thickness for the hair clams, and it all feels integrated and like a cohesive hairstyle. Obviously, it's not going to look as defined, and to be honest, we don't care at this point. So we just want to try create a good representation quickly. So I would say, this looks pretty good for what we want. So now let's go ahead and jump into the head. Actually, we're going to do that in next chapter. But now we are going to be creating the evals by inserting an sphere, rotating it, placing it under the bases socket for the eye. Just try to leave it a few millimeters away from the eyelid and level it correctly. And then once we have both in place, we're just going to put a standard, changing the appliance method to dots and changing the Alpha to sort of yeah, this alpha re here. So if we tweak the fall off as well, it will feel more natural when we place it. And we can smooth it up later on. Let's try to make it a little bit bigger. That's why I zoomed out to see if it was working naturally and it was aiming straight. Still, I don't think I achieved it. So cost mode is useful for this. Although I think because I still want the look to be relaxed. I don't want her to look scared. So let's see like this. Okay. 7. 06-Polishing Face: Welcome to Chapter six. We are going to get started with the head and the face. Or plan is to make it look like this reference, which is a little bit more stylized, childish, and with more anime look on her face. So one of the things we're going to be doing is increasing the size of the eyes, reducing the size of the nose and the mouth, as well as creating more aesthetically pleasing and curve features on the face. So having this side reference as a guide, we are going to try apply those changes, keeping as well a realistic style. So to start, we are going to be creating a layer to start in some detail. The first thing we are going to be doing is to increase the size of the eyes, like we mentioned, as well as exaggerating a little bit, some of the features like cheek bones, the chin. And the main purpose for this, like I said, is to make everything more curve and statically pleasing. So let's get started on this. As you can see on the eyes, I'm trying to get them wider first, as well as slightly more open, which is going to get the eblls out of proportion a little bit. But we can fix that later. Also, as you can see, I'm trying to thin out and smooth out some features. So nose is getting thinner. The area under the eyelids is getting smoother, as well as the sides of the head, and as well as some of the fat on the sides of the lips. All that is going to be gone in a few minutes. And what I'm trying to do is just make everything look as childish as possible, take some years of the basements, and give it more like an animal look. At this point, what you see is that I'm mostly using Move tool, actually move topological to adjust those features, lift up the tip of the nose a little bit, s going back and forth, disabling and enabling the layer so that I can better see the changes I've done, adjusting the eyes, like I said, then we're going to be a little bit off now. And especially on the eyes, I notice that it is still not there. I want to lift up the look on her face so she looks a little bit more cheer up. For the lips, I'm using inflate and move topological to get a more fleshy feel on them, although the sess is pretty good, and it doesn't really need much change in that aspect. But having some more fat addition under the lips with standard and adjusting the features a little bit, smoothing them out helps a lot. One reference that you can take is that normally the separation between the ables, it is another able in between both eye sockets. So that is a good point of reference to measure most features on the face. As you saw a few seconds ago, I was separating the eyes to make it look more natural. But I'm also using that measure to see how long the nose is, how wide the mouth is. So use measuring with eyeballs, you can see, maybe this is eeightll and a half, and it helps a lot. This point, I'm already using a little bit of dam standard together with MOV to redefine a little more some of the features that we made looser and smoother because our intention is not really to get fully rid of them. It is to smooth them out. And once the overall volume is softer, we want to create some definition on the wrinkles, so it feels like more organic and solidified, but still smooth. As you can see I'm going back and refining a little bit the under eyelid, but still without having much fat accumulation down there. Same thing for the wrinkle that falls from the inner eyelid up to the cheek bone. And smoothing out most of the cheek bone fleshy area and thinning out the chin a little bit. One thing which is very useful, as you can see, is having different polygrps for the under part of the mouth. This way allows for a very easy selection, and I really recommend you guys do this in all of your characters. In these basements, you'll already have this provided. But in case that it is not provided and you start off from one sketch of yours is really recommended to the groups like that because it's very useful for different processes depending on how you work with the client. So for example, sometimes you will need to do blend shapes or mouth interior or just bake the lips properly. So if the lips are too close together and you don't have a polygroup to help select and move them apart. I will be a quite tricky task. So a very useful tip I would give you is to always when you're working on a character, first a polygroup for that, then create a layer. Then having that layer on record mode, select that polygroup and open the mouth. This way, you'll have a layer that opens and close the mouth, and this will be incredibly useful to bake and to do any possible detailing and sculpting inside the mouth or the lips. Having said that, as you can see on the time laps, we are going back to the ice to try to do a better result. But to be fair, the ones that we had before work pretty neatly. So now we are doing some paint on top, which I like to start seeing some of the vibes of the face, as well as masking some fake avows that are not going to be done now. That helps me see proportions. So if you guys need some landmarks like that, some painted landmarks, just go for them. It is very helpful, even if you end up discarding them the very second you do them. So just look at the difference before it was looking like a 30 something year old person or 40, and now it's looking more like a teenager or maybe early 20s, which is what we are after. Faces is very good to try to simplify because one mistake that at least I felt that I used to do when I was less experienced is that I was overdoing pass, like just making them very wrinkly, very detailed. And in the end, simpler surfaces work a lot more naturally. Obviously, you need to understand anatomy and do all the subtleties on the face, but not overdo it. In the end, it looks more plastic and more fake. So try to have a good anatomy breakdown on your reference board while working on phases. And I always try to work with low resolution messes. I find that this is also very useful for head scoptingE especially if you are not going to be applying Alphas until the very last second, so it's good to be always on a low resolution level. Then it is also very useful to even if you have a really good photo of the actor or person you're trying to model, still analyze a little bit, do a small breakdown of that person, analyze where she or he has fat accumulation or maybe more blood flow or use some more scar tissue on the skin because all that will be very helpful or understanding on which areas you need to build more mass, and but yeah, if you're starting from a basement, like we did, it is going to be a quite easy task to adjust your basements. But still, like I said, it's a good idea to have a wide reference board and breakdown before starting any phase. So as for detailing, I think you have a few tips that can be useful. So most of the shapes from the head, both if you're starting from basements or if you're starting from scratch, should be done by using mostly the move tool. Because if you start creating volumes, well, adding mass, actually, with clay buildup with standard brush or any other like brushes that add volume to the mess. That way, if you don't have a very good understanding of anatomy, it's going to be more blobby and more, it's going to be more difficult for you to spot the volumes and the shapes of the sorry, the volumes and features of the face. So my advice is try to work with quite a big move brush, make the fallow to be quite big as well, so that every transform that you do either from pushing or pulling is going to be quite soft. So that is going to help construct the main things like cheek bones, the chin, the size and width of the skull. So for that stage, I would go for move mostly. Then when you are doing lips and nose, also eyes, I find very useful to do some masking before because if you pull the mouth or the nose without a mask, because of how the brushes from cebrus work, it's going to be a big pull. So it is good to do a mask, then move those volumes to get the main structure for them. And then if you're going to detail and create main shapes, sorry main shapes. Secondary shapes like we are doing right now, 100%, my favorite tool is dam standard. And sometimes clay buildup and standard, but mostly them standard because as you can see, we can create a trace under the eye that already give us the feel of having some fat imation under there or use like a wrinkle created from the connection from the eye to the cheek bone. And then we can just smooth that out a little bit and make it feel very natural. Same way as we are doing with the eyelid right now and same way that we have done with the eyebrows, with the nose, lips, et cetera. So DAM standard is key to this part of the process. To do stuff like refining the border of the lips and the inner part of the lips, 100%, I would go with mop topological because it's going to allow you for an easier transform not deforming the under lid because they don't have continuous topology. And then for the border, if you want to clean that up a little bit, I would use mix a mix of smooth and also standard and dam standard brush. So smooth will allow you to round the lip, like you would want in the lower one, which normally is less sharp or it is sculpted less sharp normally. And then using dam standard for the upper lip. I by pressing d, you will get the positive results. It is good to do the border. Okay, so right now, I'm happy with your aspect. We didn't really take that long. I mean, obviously, we had some speed up parts. But I think at this point, the whole process has been around 30 minutes or 40 minutes maybe. And we have already a pretty pleasant look. On the face is to apply the well, after some more policing, which we are going to do now, what we are doing next is going to be applying the textures from the basements because in this case, what we did is we started off from a basement with scan. So basically, already has a good topology, which is very useful for production. I already has UBS, and it also has some textures from the original scan. So that is one of the best scenarios nowadays to start a character. Even if it's not anything, even if the scan is not anything you want to produce, but still is very reusable data. One, you're going to be saving time just blocking out the anatomy. Two, you're going to be saving time in low poly because even if you have to redo it, if the base mess is nice, you'll be able to to have at least some parts of it reused, which will save time. Probably UVs you will have to redo because not many times are nice. But still, it will help you to have UBS during the high police state, like you will see now to pre visualize the textures from the scan. And then it will also save you some time on texturing because doing proper skin texture is quite difficult. So having some raw scan data is quite useful, you will see. So now, like you saw we are working on the lips. We are doing different stages in different layers. So this one is not all the transformations. Just one that is making a little bit more of an angry face and making the lips a little bit cleaner because we soft them out too much before. So now we're going to be checking if it's working better or worse than before. Let me just quickly this more volume in there and we're going to check with the layer. So yeah. I think this angry look is looking quite good. I mean, before it was very relaxed, but now eyes are more anime, I think. So now let's get the texture we had previously loaded from the scan in the spotlight in textures. So let's load it here in texture. And same thing we're going to add in our brush texture from the eye, which we can unload anything from the Internet. So where we have texture, we select that. We unload the Alpha, and with the method of the arrow, the click and drag one, we can paint the eyes with an eye Alpha. It is actually looking quite dark. So let's come here to adjustments, color adjustments. And let's tick the saturation and brightness, which was I think this is saturation down left, and this is brightness. Yeah. So let's tick the brightness and the saturation a little bit. No, that's too much. We wanted to look as neutral as possible, and the white needs to be filled like natural white from the ice. You know, liking this a little bit alien, but remembers me of Alita a little bit. We're going to paint some red around the ice to make it more natural and integrate it together with the eyelid. And now some dark on the top, so it feels like the ambien occlusion from the eyelid. Yeah. Okay, I think I'm liking hots looking. They are clearly very, very big, but we are going for this. Let's see how it works together. I try the pupil a little bit bigger and darker. I like this. Yeah, that feels more real. Maybe the iris can be brighten it a little bit. Just don't want to affect the pupil. Okay, that's too much, but on the lower part, it works. Okay. Painting the pupil over again because I tainted it. Okay. Just trying to police a little bit more those shadows on the eye so that it doesn't look as flat and as three d. You just want to make it feel more that has more depth. So painting a little bit of black shades under the eyelid feels quite nice. And same thing on the bottom. I want to put a little bit more redness, so it doesn't feel like dull ice. But I think that's it. So we're going to select the head and create a poly paint from the texture. So we can actually edit skin tone and paint over it because if we keep it as a texture, we won't be able to. So now that we have done that, we can actually come to the head and paint the eyelids with some warrior makeup. Which I think accentuates the look a lot. And it's going Okay, so now let's check together the hair to see how it looks. And so far, I'm really liking it. I mean, it feels like a powerful woman. The looks are good. The eyes are clearly exaggerated and very big, but that is the look we are going after from the beginning. So it's like anime stylized, but at the same time, it's realistic. So use a few last twigs in here and we're going to jump back into the armor to polish last few notes on the blockout. And we would be ready with blockout. I mean, we still have some work to do, but most of what's left is going to be, yeah, like, policing these small things, adding bullions. So yeah, for Bollans we're going to go like before, we're going to insert some sphere here to work on the shoulder pad, and we change the boolean to substract mode, activate Live bullan yeah, pretty simple. And now we can adjust it to move it wherever we want. I get the feel on the reference. Sometimes I will not do this stage or maybe will just do it with an Alpha. So don't stress too much about this. It is just for presentation purposes to make it look very, very cool. But yeah, trying different options now to see which one convinced me the most. I think I'll leave you guys to enjoy this part in a little bit of speed up. And I don't think that there is going to be any new notes to add, apart from just wrapping up details on the blockout. So we'll jump back when we get to the elbow joint because there is something I want to show you guys there. But apart from that, enjoy some speed up. Okay. So we're going to use this cylinder that we just inserted to create at the elbow joint. So we add those extra loops with Cmduler. We're going to mask this vertex and move it in. Although we can also do that with C modular, however you guys prefer. This is the section we wanted to move. This already gives the cylinder a quiet Sci Fi and hers face look. So now we're just going to add some extra insert loops so that it looks smoother when we subdivide it. It's going to do more inserts here so that I can transform this individually, and we are going to be inserting this to create this sort of cut in there, make it look like two pieces. And same thing in here. We just polygroup the selection and move it in. And now we have the side view of elbow joint. Like I said, we are going a little bit overboard with the blockout. Like this could perfectly just a cylinder for the blockout. But we are going, yeah, like, a little bit the extra step, both for presentation of the curse and both for reusing some of these pieces later on. Okay, so we're going to do some more paneling on the form. And with this, we should be done with a blockout, so we will see the results in just a little bit. We're going to do some masking, like always. Then you know what comes next, is going to be creating the polygroups from that selection. Yeah. So now we have the selection with polygroup from it. And now you also know what comes next. We're going to be doing panel loops from polygroups before doing the panel loops, we actually are using group loops to achieve this double border panel. I et's do another selection on the bottom. Okay. Lure the masks, pulls them a little bit more, and I think we can group now and pan a loop. Okay. Without seru missing by groups before to get clean cut around the polygroups. You know, it takes always a few tries changing the settings, but we are almost there. Okay. So finally, we got the groups. We can panel loop now. It's looking pretty nice. So now just two more things. We're going to insert a cylinder here on the back of the triceps. Scalip and put it in place. This is the detail from the ref. And this one is for sure going out. Use a placeholder. And lastly, one front plane that is going to go on the next curve. Yeah. Just that missing, I think that plane is going to cover this chin neck section. I think that will be it for the blockout guys. Like I said, you guys don't need to go this far normally for blockouts. Client don't usually spec this much. The stuff you can simplify are the elbow joint and every area that we detail in a clean way because you can get away with rough sketching at this point and using main Man proportions. Also, everything that we did with panel loops, you can sketch it out over the main volume, although doing the panel loops is cleaner and it really doesn't take that much time. So overall time of the blockout might have been like two days of work, two days worth of work, like, maybe 14 to 15 hours. Obviously, we have reduced the time and spit up some areas, so it's more digble for you guys. So yeah, this is it for the blockout. Next thing we're going to be going to cover is Marvelous designer. That topic is quite interesting. It's going to have from technical aspects from the software up to, yeah, an overall view from how I work. And hopefully you guys will love it, will enjoy it as much as I did working on it. So end of Chapter six and see you guys on Chapter seven. 8. 07-Creating Final Pants Part1: Okay, so now that we have our character blocked out, next thing we need to do is to get this into Marvelous designer to start creating the first simulations for the high poly. So we're going to bring or basements as an avatar for Marvelous designer. But first, we need to disable the texture. For this, we just need to turn it off here on the right settings, and we're going to be exporting the character as an OBJ. So we go export it And now into Marvelous Designer, we're going to go to import units would be on centimeters. And yeah, all by default is good, usually. Okay, so here we have our avatar. If it's very large or very small, maybe we should try different units, but usually centimeters works quite well. So now that we have the avatar here, first thing is going to be creating the pants because the shirt is conditioned to be under the pants. So ideally, we want to create the layers on the outer level first so that they can apply pressure to the other ones. So we're going to first do the pants, create the basic patterns to achieve base faults, and then we will proceed with applying all the assets like the poaches, the globes, everything that is going to be applying pressure other cloth pieces. So we will be bringing that later on into Marvelous. So first thing, we're going to create with the rectangle pattern tool in the two db port or basic pattern. And we are going to be editing the curve here, is to create the center area for the pants. We can edit the curve with a curve tool. Then this one we're going to be making it like a temper shape. And we need to try to leave some extra room on the sides for the pan to go around the leg and also try to get the proper height to fit the length of the leg. What I'm doing now is creating some extra points on the side because these pans in particular, like you remember from the reference, they have a weird excess of fabric around the hip. So that's why I created that extra curve up there and added another point down to keep the rest of the pan straight. So now we're going to do asymmetry for this. We want to have the exact same pattern, and this could be our base. We are coping this and rotating it to create the back part, which we are going to be adjusting in a second. You can right click and flip them instead of rotating, but you need to reorganize those in the two D view board if you like. So we're going to create quick sewing between them to see how it works. Making sure that all the stitching is going in the right direction, which he's actually doing. Okay. We need to fix this left leg. If we put it closer, it's more difficult for them to go in the wrong direction. So let's try now. Okay, there we go. So they're looking okay. We're going to actually we're going to make darker the avatar so that we can see better the work we are doing with the pants. We could do it with the pans, but since by default, all the fabrics are white, it is easier this way. Okay, so next thing we're going to do is now that we have our base patterns created. We are going to bring as a reference the blockout we did in Zibros. We could use that to create the basic patterns, but it's not the way we're going to go for the pans specifically. So what we're going to do is bringing them as a reference for position for height and overall proportions. So we are going to go back into Cibros in just a second. Making sure that the tight is good, the fit is tight for now. Okay, so we're going to get those, and we're going to export them the same way we did before with the avatar as an OBJ. This time we're going to import them differently. Instead of importing them as an avatar, we want to add them. So inside Marvelous Designer, Yeah. Since I Marvelous designer, I'm going to go here to import OBJ selecting this one. And now I'm going to select, first hide the patterns, select the reference for the pans that as you can see, they are slightly higher than the ones we have now. We're going to deactivate them so that it doesn't affect or simulation, and we're also going to hide them. So we can use height and hide whenever we consider. So with this, we can see that basically your pans are a little bit lower. We need to increase this. This is way better. Also, we see that the shape we had is incorrect, so we need to lower the front center and up the sides. To try and replicate the same shape as we see on the reference. But we are also going to be adjusting a little bit the tightness on certain areas. So we're going to select the vertice right here. We're going to make it shorter so that the waist is more tight. Likewise, for the crotch area or yeah the inner pelvis. So we select both sides from the front and back pattern. We move it up so that it will create tightness, simulate and see how it results. Looks pretty good. And we're about to be doing the same on the lower part of the pants so we select both sides, move them to the side a little bit, adjust the curve, and select both patterns both front and back, and we're going to be adjusting those, so the overall result is more tight on the ankle. So it feels more like a sporty legging. Like so. Okay, so next thing we're going to be working on is the belt area. So since the height of the bond is correct, we're going to be selecting both patterns, front and back and see the measurement so that we can create a belt that measures the same as both front sorry, back and front. So we add those measures here on the rectangle pattern creation. We actually have to adjust, hold on. Yeah. Now it is correct. Sorry. So now we're going to be sewing this with three sewing first to the back then to the front. And the reason we do it first, the back and the front and not just both front patterns or both back patterns is so that the stitching of the pattern stays on the middle of the waist instead of on the sides. So we copy and symmetry this. We also seal those together, and we get this ready. So now we need to make this a little bit more fitted. So we're going to make it sorter. And we need to adjust the upper segment, which we are going to be doing in a second. Just let me, let me adjust the thickness of the pattern so that it looks more, more thick like a belt. And now we are going to be doing this thing. So we move the vertex a little bit to the right and to the left so that we have less fabric on the upper part and it tightens better around the waist. And to be honest, it doesn't look so good. So we are going to adjust a little bit, pull a little bit so that we can fix that weird pinching that is gritting both on front and the back. And since we don't seem to be fixing that, maybe we can adjust the weft or warp on sec. Okay. That is a little bit better. Let me do it in a different fabric preset so that doesn't affect the rest of the simulation. So I create a new one. I will rename it and assign it to the belt. And basically what warp or weft does is that it will increase the amount of fabric per axis, so it can increase it in the Y axis or X axis without having to change the actual measurements of the patterns. So this helps a lot when you already have measured specific patterns for the character, and you have done the fitting. So it helps to create more guinss or tightness once you're done with that stage. So this is looking already quite nice. Yeah, I'm liking how it looks. So next step is going to be just a few more minor things on the general fitting. And we are going to focus on this area first, then this area and then the lower area to create those folds, those really accentuated hips. But for that, we need to fit to adjust the tightness of the pant because right now it's all very tight. So we're going to select here contact indicator, we would call it that way. This allow us to see where we have more tension on the cloth. So we can go back to our patterns and adjust accordingly so that we can give more excess of fabric on those areas by adjusting with the curve. So first, we're going to be working, like I said, on this hip area. So for that, we need to adjust the curves a little bit both on the bottom, and the upper part. So I'm pulling a little bit and see which results we get. Sometimes this is more a matter of trial and error rather than just go for the shot directly. So what I'm doing now is adding curve points to achieve more control curve overall. And to be fair at this point, I feel that it's going to be more useful top speed things up a little bit, sorry. So I'll give some general comment on how we are going to approach this because it's going to be a lot of try this, try that until we get all the tensions out. So I'm going to quickly speed this up. And now we can comment this in a more fluent way. So as you guys can see right now, I'm going back and forth from the tension view and back to the pattern. And with the croof edit, I'm just adding more curve to the hip area, adding more curve to the inner pelvis area, and basically trying here and there until I get rid of those tensions. Obviously, always keeping in mind that we're trying to achieve that fault on the hip, some faults on the knee and some falls near the ankle. So this is looking better already. You see that there is no as much red anymore, but we still don't have any interesting folds. So as you can see now, I'm pinching up a little bit of the clothing until I get some interesting results, then I go back adjust the amount of fabric that we have by, like you see, changing a few of the curves, sorry, until we get a better result in this area. If we see that we are lacking folds, we might have a lot of tension, so we need to make the pattern bigger on their area, increasing the curve. If we see that we have a lot of faults, we might need to do the opposite. So there is no specific way to approach a pattern. But these general notes I'm giving you because every Ater is different, every clothe piece is different. So we need to just keep adding where we see on the reference that we have more. Of course, every fabric preset folds differently, but for now, we are just working with the default and we're not playing that much with warp and weft. But also you can guys use it if you consider it necessary. Like I said before, it's very useful to get more general folds, if you increase it when you have the fitting done already or to get less, if you increase the parameter when you want to get more tension. So that's basically what we're doing now. We're just playing back and forth with a bad area because we don't want to have excessive guinss on this area, but we do want to get that heap accumulation. So basically, I used discarded the last ten, 15 minutes of work. I'm just trying different approach, which is adjusting the curve of the pattern somehow differently than before. Trying to see if the result is any better. Just moving the center of the pelvis a little bit more, and this seems to be working better, but still not quite there yet. So yeah, not too fun to watch sometimes because as you can see, I'm just pinching here, pinching there, painting here, painting there all the time. Just resetting the simulation with Control seat because I don't like it. Just training again. It's pretty simple to get interesting falls on the knees and maybe on the ankles, but the hip area is really the trouble here. So that's why we are trying to go back and forth. Really worrying that much about the knees, to be honest. He's trying to get some cloth accumulation over the knees so that we have enough to achieve that bagginss on the side of the hips. At this point, the knees looks pretty good, maybe too much fabric, but they are not too bad. Hips we still want to force them a little bit more. They're not terrible. We might need some help from internal lines which will come in a little bit to really get these to the point we need. So we are trying to get these folds behind the butt to make that area as well, interesting, not just the knees. A lot of painting in the process, a lot of control seed as well. Taking back the tension. You know, like, at this point, to me, the hips are not really working. I'm not too happy with them. I was going back and forth with it, just trying to pint to increase the amount of fabric that we had that wasn't really making the click for me. So in the end, I considered that the best approach was to really create a huge peak, like a corner on the clothing, really noticeable, not like the curve we have right now, rather than like a mountain peak or something. I'll show you in a second. And that was going to make really obvious the shape different on the hip. So to avoid making a shortcut so that you guys can see all the struggle and all the process that goes into this, at least for the first lock of the Marvelous segment, I'm going to leave all the part in speed up verson. But here at this point, is when I'm realizing, like, Hey, I'm not getting the result I want. So it's when I'm going to approach sooner or later the hips and try to do as a set, create a very noticeable peck on the front and the back patterns. So here it is. Here's where I'm seeing how they are sewing together, and I'm creating this super exaggerated extrude, which I'm going to even out a little bit so that it's not a square thing. And this is looking way nicer, still a little bit weird. So we're going to fix that weirdness by pinching, we fix everything in Marvelous designer and by making used a different shape on the pattern, but this is already looking quite nice. I mean, it's obviously still a very rough base of the Marvelous designer, but it is quite good start for what's to come in the next chapters. So before jumping into the next one, we are going to create some internal lines for these shapes. So for that, we're going to be seeing the reference we imported before to see which height it is going and we are going to create the internal line trying to replicate that exam shape, so we first going to block it out with a very simple shape and see where it lands. Oops. Okay. Yeah, that's pretty accurate. So I'm going to make sure it fits nicely. We're going to just every corner, and then we will make it curvy. But for now, it's just going to be a rough out of it. All right. Now we are going to curve this by using the create corner tool and making sure the curve is about right with the reference. Now we are going to same on the back make sure the connection is well aligned with front pattern, otherwise it will look very badly. Same thing, we are going to repeat the same process as we did on the front pattern. We first adjust the main corners and once we are happy with that, we create the corner with these two to make it smooth and round. That looks pretty cool. I think we already have our main blockout for the Marvelous. We are going to be ending the chapter here and we'll see you guys in Chapter eight. 9. 08-Creating Final Pants Part2: Welcome to Chapter eight. On this chapter, we're going to keep adding a few internal lines to create the pockets on the sides of the pants. We're also going to be refining the borders of most of the patterns to create some stitching effect, and we're also going to accentuate the hips shape with some overlaying patterns. Right now, we are adding an internal line with a curve to create the side panels for the pouches. We are going to be creating this line on both front and back patterns, and we're going to be offsetting the line to create a double internal line and to simulate that stitching effect that we mentioned before. First, we are placing the internal line on the correct position and addressing any curvature that we want to give it to it, then creating the curve on the corner as we can see here, we have the rigid shape on hips on both sides. It's a little bit flatter on the right, but we are going to be creating that either with an underlying shape created by some patterns or overlapping another pattern on top of it, but that will come later on. For now, we're going to keep refining the pocket and the side caps we're going to create the connection line between these 22 segments, since it has a continuous stitching on the reference. We're going to be creating the offset for both lines. And now we can actually adjust the external line. Now we're going to be right clicking this two, this forcery at point to the intersection so that we can properly snap the vertical line and make it seamless and remove the section that we're not going to be using anymore. And this way, they have a perfect seamless connection. So here we have basically our layout, and next thing we're going to be creating is a copy of these patterns. Then we're going to select the internal lines. This one's right here and we're going to create a cut on the patterns. We're going to remove the excess material to have some pieces to use as side panels. We're going to create a new fabric preset. We're going to name it accordingly with the panels, and we're going to be changing the signed fabric preset for the patterns. Here we are also going to be creating a cut, inverted cut, and now we're going to be sewing this to the correspondent segment on each piece to replace that volume with this new volume. This way we will be able to to have overlaying stitching, which we are doing right now, as you can see, we're seeing the internal lines to the internal lines thing which wasn't done before. This way we have the overlaying stitching it is a really cool effect. This way we can also treat differently with different presets to the gray patterns and to the white patterns. Now when we simulate, we might need to pull here a few times But it already is looking quite nice. We already have this double stitching effect as a result of having one pattern stitch over the other one. We need to sew this to the belt because it didn't keep the stitching and the other part. Okay. Let's stitch this part. And I think the other side is missing as well. So sec. That one is right. Okay, I think all of them are good. Yeah. Okay. Just checking to make sure. Okay. Yeah. So this looks pretty good already. So this will be well, we already had a base, but this is a more advanced base with the two different kind of cloth that we're going to be using. Still we're missing the final blockout on the Marvelous stage. Right now, we are creating like the baseline for the whole simulation. So we are creating the secondary internal lines that are going to be supporting the other patterns. We are some basic folds. But still we need to achieve final falls. We need to achieve the hip shape, which we're going to be jumping in just a few minutes. And we're also going to be working on the side rhomboid shapes. But I think that will come next chapter. For now, we're going to select the internal lines. And we're going to adjust the force and the angle so that we can achieve a more defined stitching effect. You can see now when we simulate. Depending on the angle that do apply and the force, the strength of the internal line will go inwards or outwards. So right now we want it to go inwards. We're going to play a little bit with the web and web to see if we achieve a more baggy effect because before they were very tight. This looks a little bit better. But now we want to get this side panel working. So that's why we created the vertical internal line. So we're going to use that as frame to stitch another pattern. So we're going to be creating a cut from the internal lines. Now we're going to be getting rid of this. We're going to be the remaining surface to do another cut. Oops. I think I cannot cut because it's not touching the borders. Let me double check that. Oh, well, now it works. We wanted to duplicate the patterns to cut all the internal lines so that we can have a perfect measured panel that is going to go over that pretty fine shape we created with internal lines. Just having some issues here to cut this, but now it's good. So now we have the two front parts and the two back parts. We're going to also create a new fabric preset. But first, we're going to be sewing that to the corresponding areas. And this is what's going to be creating the hips effect that we were looking for so desperately and in a more fancy and easier way than before. Let's give it a shot now with the new properties. We're going to change the layer, so it goes Sorry, so it goes under. As you can see, the pattern is there under laying under the pants, and we're going to use that to create a little bit more volume. So let's create this offset which we are going to use, again, to pull some force using force and angle on the internal line. Now when we simulate again, by changing these parameters, we should achieve a little bit of pull upwards, exactly like this. And it doesn't feel too weird yet. It feels just like reinforcement from the inside. We're going to change the particle distance so it feels smoother as well. It is not there yet, but it is getting there slowly. So we're going to be freezing this so that we can get this in a more pronounced way without affecting the rest. And once we're happy with the shape that we have, we will freeze the proxy shape. Let's call it that way. We will freeze that one and just leave the others to simulate. Now we're sewing those in place with the other patterns. Okay. Now we are actually getting way nicer volume here. Yeah, we have a stitching problem here. We need to dress. So let me just quickly check, here is the issue. We just need to move the stitching there. Now, it should be solved. Okay. Now the other piece, I think, there must be something similar to that issue somewhere else. So I'm just checking all the stitching everywhere. It's happening both sides. So let me just check what it is. Maybe it's just the layers having issues, deciding which one goes on top. The layer seem to be fine. Let me deactivate this and freeze this area and see how it reacts. There is some issue with that stitching there that's causing all the trouble. We really need to spot where, yeah, this must be it. I think that is where all the issues coming from. Let's do it on the other side. I think two more. Let's see. I think I need to activate those, freeze the others. Is it still pinching? Hm, that's unlucky. I'm not really sure what it is. I mean, this stitching seems to be fine. Um, is this? All right. So it was that one. You guys need to be very careful. When you do manos stitching, just make sure that you're actually sewing it to the corresponding area. Otherwise, these sort of issues can happen and maybe it's not too noticeable, but it will mess your whole work. So it is important to spot those issues and fix them early on. Otherwise, it will carry on till the end of the simulation. And if someone else start working on your character, maybe a colleague or just a friend who is working together with you on the same character, maybe it will make their life very miserable to spot those issues if they didn't work on the character. So just for yourself or for others, make sure your work is clean. So now we keep adjusting this. What we are trying to do is refine the shape, so it looks more like the concept, and it is more continuous to the side panel shape. So just adjusting the curve on all of them and simulating to achieve crispy and continuous flow. So far so good. Now, let's simulate on top. This is looking very nice. Not too bad for just marvelous, huh? Actually, I like it. Very happy. As you can see, I'm excited about it. Okay, so even if I have achieved this shape so far, there is a few more things that I would like to achieve. It's going to take some time, so I'm going to speed this up for you guys, and I'll stay silent while I do it. I'll just give you now a little bit of context so you can follow what I'm doing. But basically, I was struggling with the shape. I was not happy with it. So I was playing with web and webt of that pattern so that I had either more volume or less volume, depending on the test I was running. And also, I was trying to change the curve. Because I was not too happy with how sharp it was feeling with the cloth on top of it. So I was just going back and forth a lot until I was happy with the result. So it's going to be a speed up version during the next. I think it's until minute 2022 23, which I will be continuing with more internal shapes to achieve more shapes on different parts of the pants. But until then, it's just me playing with the same parameters and the same things we have been checking before. So just silent for a few minutes, you guys can follow up, but not really important notes to it right now. Okay, so now we're back and we ended up with a good result on the hips. We are going to keep adding some internal lines first on the pocket sides to create the like the stitching effect that the pockets have on the reference. Same process, we create an internal line. We add the curvature, we appreciate on the reference, and then we're going to play with force and the angle of the internal line to get the final result we are looking after. Something like this, we play with the angle to get this.This quite good. So for now, this will do. Then we're going to keep adding some more internal lines here. This is going to be a halfway thing. We're going to split this into the next chapter, but we're going to be creating the X pattern we have on these side panels. First, we're going to create the arc. We're getting some leitching here on the pattern, we play with the angle until we get the result we like. Whoops. Because now after having this secondary shape, we might need to readjust a little bit, the previous 11 last time, hopefully. Something like this will do. K. 10. 09-Creating Final Pants Part3: Welcome to Chapter nine. Part of this video is going to be speed up since the process we're going to be covering is mostly playing a little bit with warp and weft and adjusting some of the folds by pinching here and there. Since there is no major changes on the simulation, you'll be guys seeing this speed up, and we'll shortly come back to create the rhomboid shapes on the side panels. In case that you guys want to jump straight ahead to the end of the speed up video, just go to the minute 22. See you in a bit. Okay. So what we are going to be creating next is the side sip lines or however you want to call it, but read it segment that we can find on the lower part of the ankle and the reference. So for that, we are going to be creating an internal line on the side. To allow us to control in a better way the folds that we are getting on this area and also to create a contrast in the reading of the clothing, making a change from a more soft clothe into a more rigid cloth cloth, sorry. So we create the internal line Like always, we want to adjust it so that it has a similar shape to the reference. And we're going to re click click on cut and sew so that we get a cut, and it's automatically sewed to the pant. And we're going to assign a new pattern property for this piece of cloth, this pattern. We're going to make it yellow, so it's easier to spot and goes more with the design. And we're also going to change this to fuzzibal rigid. So it has a very nice reading and contrast in comparison to the rest of the clothe. Okay. Now we're also going to be creating an offset here from the bottom segment, about 20, and we're going to do similar things. So we're going to copy and paste this on top. We're going to move it away. We're going to cut. And now we're going to be removing these excessive patterns, and we are going to be sewing this to the correspondent internal lines on the top and the bottom. And on the sides as well, let's not forget that. Now, let's change the layer, so they stay on top of the pant, and now Valla have like a more puffy like a padding on the bottom of the pants, which we read nicely and we'll give it a touch of more yeah, sporty pants. Now we hide the avatar. We see that it feels like a continuous continuous fold over the pants. And it looks decent. With this, we will be able to control a little bit the hold on the bottom of the ankles. And also, like I said, having a rigid part on the side will not only follow the reference, but also allow us to create a good break. T is going to be a little bit of pinching and adjusting until we get into the side panels as well. Okay, so for the side panels, we're going to still use internal lines to create the main shapes. So we are going to be first creating the landmarks like we always do. Just like so. Sorry. Okay, just want to make sure that the internal line always intersects with the border to avoid weird twitching and glitches on marvelous. So make sure it really clicks on the border, both from the exterior of the pattern to the internal line that is doing the left frame right here. An hour ago to select both internal lines, copy them, paste them here. Same thing. Try to keep, yeah, the points in the border. Otherwise, we'll have some issues. And now we adjust it so that both the front and back panel fit together nicely. Okay. Here is the main areas that we usually have issues. You can always move it away outside the panel, outside the pattern, sorry. And this way, you will also avoid issues because the end of the internal line is not inside the pattern. So yeah, either you leave it outside or you align it perfectly with the border. And we're trying to get this as smooth as possible and as align as possible. Get those to intersect on the border as well. Almost there. Okay. H. Just making sure that everything is in place before we move forward. And like always, we are going to adjust the strength and the angle of the internal lines and see how they behave when we simulate, we are going to deactivate the preview of the internal lines so that we can actually see what effect they are taking on the pattern. So far as you can see, they are barely noticeable. This is not what we want, so we're going to be playing with this a little bit more. But still, it is, like I said, a good landmark, a good base to start from So now we go back step simulation, and we're going to be playing with the particle distance so that we can have more resolution and yeah, more wrinkle creation. The less particle distance, the more dense the geometry gets. So, it allows us to get more realistic simulations overall. So we play with that. We also copy that to the underlying patterns that we had. A We're going to be using these underlying patterns to create volume. Same thing with it. Apologies for the energy. So same thing with it with the heap prothess. We could call it that way or for the heat volume. So this is exactly the same. We want to copy the internal lines also there so that we can sew them together so that they can actually act together. You'll see in just a second how it changes the whole thing. Just making sure they are also aligned with the other ones. I'm going to be setting all four and changing the fabric preset so that it is a little bit more rigid one, like the ones we had before. And also and Yeah. So with the new preset, having both internal lines on the exterior and interior patterns, we are getting this different volume. So the interior one has a more rigid and solid kind of fabric, and the exterior one has a more thin one. So this is what allow us to create the structure inside of a more puffy and inflated look. Yeah, we're going to be playing with these presets, and the exterior one has a more thin and wrinkly look, so that's why in combination, we achieve this result. This is a technique that is also very useful for jackets, where you can create the feather filling with a more rigid and solid preset. And then on the outer layer, we can have a very thin and wrinkly preset to create the plastic key filling that some winter jackets have. So here is pretty much the same thing. We have a double layer. One with one preset, the exterior, one with another thinner. And right now, we're just going to be playing around with both fabric presets, trying different ones from Marvelous designer. We're not doing any custom one yet. So we're playing with those two, and we're also playing with the stitching between the internal lines of the exterior and interior so that the connection between both patterns is more noticeable like we are getting now. So you can see the pattern doesn't disappear as much as we had before. So this is what we are trying to achieve. Not sure if this is the look we're going for exactly, but like I said, most of the time, this is trial and error until we get something that we're happy with. So we still need to play with angle with force with the pattern presets. We're going to keep doing this for a while and it's going to be speed up because we're not going to do anything key at this point, rather than playing with those patterns. So if you want to jump into the next step in case you had this figure out quicker, it's going to be in the 14 44 creation of the tarp that we have on the left side of the character. So see you on that minute. Okay, so back in action, what we are going to be doing now is creating the left tarp. So we're going to start off from a rectangle, which we are going to be placing first, sort of in position. So we're going to ustate move, and get it where we want. At least to have sort of accurate perspective on the size and we don't do a huge pattern. Okay. We're going to rearrange a little bit the presets that we have, and we're going to be freezing the whole pans while we work on this, so we don't affect the simulation. We don't want to mess anything up for now. So all this is going to be freeze. I'm going to create here a stitching for one side of the tarp. Oops. I think mess that up. Okay, now it's good. Need to flip the stitching. And adjust it right. But I'm thinking if it's going to be starting on that pattern or on the other one. Okay. And the rest of the pattern is going to go here last chunk might go there. So this is just going to be the initial approach. We are not fully sure yet how big this is going to be. But if we commit to the size for now, we want to be sewing all to the pant. It looks a little bit big, but I think what refers to waist circumference is good. It's not too big. Let's increase the particle distance, so it looks better. Sorry, decrease decrease it, so it is easier to work with first. We might need to make it shorter, even a bit shorter still. Just make sure by taking the reference that you're getting the right size, this might be a bit shorter. Yeah. This is about right, I would say. We want to create an asymmetry. So let's use first of one corner. Okay. Let's just pinch for a little bit. So the way we're going to approach this is pretty similar to the pant. And the more patterns we create, the series is going to be getting. So first, we create the basic pattern. We put it in place like any other piece of the cloth we want to get the right proportion. So this is what we are doing now, making sure it aligns with the crutch, it aligns with the waist. Then we will start working on the internal shapes, and then we will do all the paddings and all the details that you see here on the reference. So for now, we're going to be creating a little bit of curvature here so that it flows better with a curve on the side panels. We're going to change the pre not quite sure if this one, but we can play with a few and see how it reacts. So at the moment, it is the same thing as we did with the pens. What I'm trying to achieve, it is a good base result. Obviously, not final. Obviously, it's not going to feel like the kind of fabric that we like. But we want to make sure that the base and the structure is good, so that then when we build on top, we don't need to go back a lot. So make sure proportions and at least the basic folds that we're getting are sort of interesting to If we achieve that, the rest will come fairly easy because as you saw, adding internal lines, playing with overlying patterns and sewing and pressure is all pretty simple. Just going to be a little bit of painting here and there. Same way as the pants until we are happy with the base. I'll leave you guys with that and we will get back when we start adding internal lines. Oh Okay, so up until this point, we have been pinching and adjusting the base structure of the tarp. Right now it's time to offset the border. You guys already know how to do this. So right click upset and set the measure that you like. We're going to be refining the corners as before with the pans. We're also going to be upsetting this to create a double internal line in there, and we are going to be first playing a little bit with the corner here to create the X stitching that we see on the reference. Pretty simple. And now that we have the base internal lines created, we are going to click layer clone over, same as with the pans so that we can create some thickness, some realistic puffy feeling to it. So now we're going to also change the preset to same procedure as we had before. So interior one is going to be a thicker preset, exterior one is going to be a thinner one. So the underlying layer is always for structure. The other one is always for details, not always, but yeah, it's a pretty useful technique. So now we are going to be creating this offset on the exterior border. Copy those two patterns, so that we can right click on that internal line, click on cut like we did before, remove the excess of fabric. And we are going to be using those borders the same way as we did on the ankles of the pants to create some volume and to make it feel more like well sealed manufactured fabric, I don't know, but to make it feel more appealing overall. So we stitch those two internal lines to the main patterns, both interior and exterior. Now, when we are going to be simulating them, you will see that you're setting up the layers so that they go on top and under depending on if it's exterior and interior. And now, as you can see, we are getting a very nice effect, which you'll see in a second. Okay, we are getting some twitching there. That's very likely because there is not enough space between the avatar and the pants. So we might have to actually resimulate the belt on the pants. Okay. Yes that might fix it. Inks, it's glitching too much. We need to make sure that the layers are properly set. So remember, the lower the number, it is supposed to go in the underlayer, of course, and the higher the number is overlaying layer always. So zero will be the base, one next, two next, three next, et cetera. The issue here is that as you can see, we are having conflict between one layer and the belt layer because it is supposed to go over it, but it's actually looping around. So that's why it has conflict deciding where to go. That is normal, that happens sometimes. So you just need to play a little bit, giving it maybe more fabric to the belt so that it can be looser and it doesn't twitch as much. But in case that it doesn't stop tiching, we could roll with it. It's not ideal. But we are going to try to fix it. So what we can do, we can play with or different fabric presets that can be an issue. So we can try less complex fabric presets. So either thinner, which can help or thicker which don't fold as much and it can make the simulation easier to resolve the program, there can be a way. Another way can be playing with the layers, but we have tried that already, and it doesn't seem to be fixing much. And lastly, we can play with force and angle of the internal lines that we have, which could also be causing that, but it's not really that common. Very likely it's going to be how tight the belt is to the avatar. So I think a mix of changing the patterns, sorry, the fabric preset and also giving it more space is going to be the solution. So as you can see me here on the video. I'm just trying to get, again, good falls, but every once in a while, I'm getting this twitch. It's not making me very happy because that will mess up your folds, that will mess up your workhle work, even if you're working with lower particle distance. So ideal thing is to get that fixed before keep moving forward. So now you see that I'm trying to get the good falls and forget about the twitching. But at some point, it's just getting an annoying for me. So that's why after a few minutes, I end up deciding that, okay, it is time to use resimulate with a belt and make sure that the twitching gets fixed. So that's me just trying to get to the corners where we're getting the issue, trying to see where it is coming from. It took me a while to realize. But now it seems that it's working nicely, not twitching anywhere. So I'm going to get back to assigning the right fabric resets to each layer, play with web and weft, and get back again on the pinching game and trying to get interesting folds for the tarp. So I'll leave you with another spit up version until we are happy with the folds that we are getting here. But until this point, as you can see, the construction of the tarp is done mostly. Steps are simple like we did with the pen. So first, we create the basic pattern. We se it properly to where it's going to be and create the basic structure, so we can build internal lines and secondary layers of fabric on top. Once we get that structure, we create the internal lines for what is going to be stitching and the guidelines for the overlaying layers that are going to come after. And once we have those internal layers, sorry, internal lines, we just create duplicated versions of the base pattern and base internal lines, remove the excess of fabric, and stitch it on top. And yeah, the base is that process, pretty simple, pretty straightforward. It is the same with every marvelous thing ever, most of the time. And now it's just going to be assigning an interesting preset. So remember one rigid one for the base, one thin one for the top. And pinting and painting and pinting until we get something that we like. So I'll leave you with speed up and see you in the next chapter. A 11. 10-Creating Final Top Part1: Come to Chapter ten. On this chapter, we are going to be covering decoration of the t shirt and the details on it. The process is going to be very simple, same as we did with the pans or the left tarp, but in a more simple and fast way, you will see. So first, we're going to be creating a basic pattern, always starting from a rectangle. And we're going to be cutting up the top left corner and top right corner to create a quarter of the tis shirt. So once we have that quarter, we will symmetry copy it. And then do the same for the backside. So now we are cutting the corners, adjusting the sap so it fits what a normal tissue would look like. Sleafless shirt, actually. And now that we have this pattern, we're going to do symmetry symmetric pattern. And then we're going to copy paste those to create the backside. So we rotate them and put them in place, stitch them together. You just need to see its segment to the correspondent part. So you can see this video is speed up per four times, I think it is because the process is very simple. We have already covered this. So we're going to be doing a voice over on the specifics of the details, but not really stopping in simple parts of the process so that it doesn't get very repetitive. Okay, so now that we have the base, as we normally do, we are going to be assigning different fabric preset, one that works good with our avatar and our character. So it's up to our selection. We're going to be doing small changes to better fit the shoulders, to better fit the chest in case of female de boobs so that they don't feel too tight or they don't create a lot of tension on the front part of the tissue. Yeah, we're going to keep doing this for a little bit. And the shirt like you saw, is nothing too crazy. First, we're going to be creating it symmetrical like we are doing now. And when we are happy with the overall shape, we are going to be doing the diagonal cut from her left shoulder to the right armpit. There is when we will break the symmetry, but we won't do that until we are happy with the overall fitting. So right now, like we said, we are adjusting the fitting, so it's nice and after doing the asymmetric cut, next step, every time on every cloth piece, we're going to be creating the internal shapes that will be the base for the future overlaying patterns. So right now, we can see that here, we have this strap going over. And the shirt doesn't leave much of the chest visible, so we need to adjust that as well. As you can see this is folding a little bit weird. So we're going to be doing pinching from certain parts and adjusting the pattern, also playing with warp and webb until we are happy with this. So as you can see, giving it a little bit of excess of fabric on the sides can help a little bit, but still is resulting in a very pinchy result. That is due to the size of the breast. So that can be solved. Apart from trying like we are doing now, by pulling the cloth into different directions can also help out by giving it more space on the back so it can flow and rest differently. But we very likely will end up just doing a cloth reduction cut, which basically consists in just doing a triangle cut on the side, on areas like this one with a lot of volume, which are hard to achieve with normal curve. So yeah, using that kind of cut is a good solution. So we're going to be trying to remove cloth from that area. If we don't achieve a good result in here, which by the way, I will spoil you that we end up not achieving it just by tweaking the curve. So we are going to be doing that cut at some point. I just want to show you the process, the struggle that we went through to show you that it doesn't always go good the first time. So we create here the cut. As you can see, it's fairly simple. That already solved a lot of the fitting issue. We need to adjust the curvature on both sides accordingly, so it feels continuous and not weird. This is not ideal solution, but for very voluminous shirts, which are not elastic or we don't want it to feel very adjusted. It is a good solution. So now that we have that solved mostly, we are going to proceed and do a few of pinches here and there in really speed up camera to achieve some interesting folds and make the shirt go under the pants. Which is achieved by using layers. And once we are kind of happy with the folding we're getting in the front and the back, still using a pretty high particle distance. So once we achieve that, we are going to be starting with the horizontal cat, well, diagonal cat. And as you can see, we're fixing the same twitching and clipping issues that we had before with the tarp. So basically what we did was setting the shirt to the lowest layer possible and then just move it in and then pull some cloth out, so we are getting this baggy effect you're seeing on screen. Since the result is kind of nice right now, we're trying to get closer to the ref, but so far, I'm happy with what we're getting. We're going to proceed very soon to the diagonal cut. And for that, we're going to be using an internal line. We're going to try to create that continuity from both sides. First, always very polygonal to create a preview of how it's going to look. And once that we have that preview, we're going to refine it with curves like we're doing now, making sure it feels continuous between both patterns. By the way to do this, you will need to right click on one of the patterns and create make unique or break asymmetry. So yeah, they are not linked. And we're going to do a similar cut on the back side. Unlike before, we will use the internal line to right click click cut and get rid of the excess of clothe. Just making sure that the cut works correctly. We're going to need to adjust some stuff. But mostly just adjusting the curves on the pattern on the bigger pattern that's going over the shoulder so that the curve feels continuous. Okay, so up to this point, it looks good. There is still some refinement that we're going to be doing. But we're going to start thinking on the different patterns that are going to be stitched on top of the shirt. So we will probably have one here and near the border that we are working on right now on the curve. That will be, similar to the one we did for the ankles on the pants. And then we have on the left side of the reference, we also have not leather but like a cloth piece suit to the shirt. Like with a triple rivet, triple border. And then we have another one on the right part of the shirt. So we will do that in just a second after we work a little bit more on getting back some interesting folds with this new shape of the shirt. You can see the areas where we are pinching here and there or speed up because you guys already rock this part. It's fairly simple. Just play with the web, play with the wb, adjust a little bit of the pattern, and just pinch here and there and try how results. So I'll leave you guys with this part of the process until we get to the border creation part, so enjoy the time lapse. Okay, so now that we get to this point, as you can see, we selected the border, created the offset like before, duplicated the object, remove the excess of fabric, and stitch to the corresponding part. This is the same process as we did before. Nothing too fancy. Pre simple. Now we get it simulated to see how it looks, and it gives us this slightly more rigid and thick feel on the border of the shirt. This is just a touch. So since it's very small, it doesn't really add that much to it. We're going to do same on the exterior, so duplicate, remove the excess of fabric and stitch to the offset that we created. So now we have borders on both the slip side and the size chest side, sorry. Next, we are going to be creating the pats on the left side. So for now, you're going to be seeing spit up version. Well, I refine this border, and we'll zoom back in a second. Okay, so at this point, we have been pinching and pulling the shirt for a little bit, refining the border, improving the folds on the front and the back. So now we're going to go and create a base internal line on the left side of the torso. We're going to adjust it to fit as close as possible the shape of the reference and create a curve on the corner and a symmetry on the back. Like always, what we want to do first is to create the basic landmarks for it. And once we are done with it, we will start policing the shape, the curves, every corner of the internal line. In here, we want to do sort of like a chamfer, so we don't go for a curve. Something like that will do. And the same thing on the front now we want to polish the curve, so it follows on the three D pattern, the straight or curve line depending on how you set. And now we are going to create a triple or double offset. So here we change the amount the distance. And we're going to be duplicating the main patterns after creating the offset on both sides to create the overlaying patterns like always duplicating the base ones. So we copy this paste it. The reason I pasted it always on top is that they are placed on the same space in the three D be part. Now we want to select the internal lines and extend right click extend to Pattern Hotline. Do that in both sides and on the other ones. And this one as well. And now we're going to make sure to sew the exterior and the second internal line and the same for the third one. And we will repeat this process both for the front and the back. This will make it feel like there is three straps, well, actually, two straps, sewed to the left of the top. Now we're going to also create as well, a different fabric preset so that we can assign a different material and color. Also going to upset it one more time on both the front and the back. And this one is going to be sealed as well. We are going to cook this one and use it. Just for the trims. We don't need the interior. Now we need to do this cut and sew. It's a different piece because it feels like a different patch. So we're going to do it just like that. We're going to seal that we are going to be Sorry, let me seal this properly on the back as well. So now we need to pull a little bit and simulate to see how this is looking. So far, the result is good, but like I said, we're going to create a different fabric preset. Okay, we need to adjust the kind of fabric, so we are going to be using trim hardware like always for this sort of rigid, yeah, rigid pieces of cloth. And I think we could try to merge this or no, never mind. Um, Yeah, I think it's going to be tricky because of how many internal lines and shape it has. So let's just keep them separated for now and play a little bit with the angle and strength of those lines to achieve a nicer result in here. Oops. Trying to see if I can fix this middle line because it's not sewing correctly. So I'm trying to either merge them together or you seal them together, so they work better. But I think for now they are good. Let's assign a different fabric preset as well. Just for the color to the side panel. Increase as well, the warp so that it has more density and also go for the same fabric preset, so it feels a little bit more rigid. Let's try a different one. Like I always try and error until we are happy with this. Maybe too much deformation. All right. I think I'm going to be playing with this for a little bit. So I'll speed this up for you guys. So it's going to be again some fabric preset testing, playing with the angle and strength of the internal lines, and also a lot of pinching and pulling of the cloth. So you guys can see how the process goes a little bit faster and we'll be with you in a second. The end of the result, you can jump into the minute 25, 10 seconds. Okay, so this is what we have achieved so far. It is not perfect yet, but so far so good, we have interesting folds on the belly. We also have pretty decent folds on the back side. Yeah, overall, we are kind of happy with this. There is some errors between the internal line that we have created during the time laps and the triangle we use to reduce fabric. So we might reconsider this. Um but it is not too bad. We can fix that in zeros, and overall simulation is quite good. We have some rhomboid areas after yeah, a lot of pinching, but so far so good. So this is going to be this for this chapter and see you guys in Chapter 11. 12. 11-Creating Final Top Part2: Welcome to Chapter 11. This chapter, we're going to be covering the creation of the next carve. First, we're going to be importing the sketch we created in zebras into Marvelous Center, and we are going to be using it as a reference like we did on the pans for the creation of the patterns. Well, the way this next carve has been designed or how it looks like in the concept is like it has the main neck area. The sides falls a little bit, and then we have the hoodie, which is like stitched to the back from the front to the back and is hold by Daddy Elastic that we can see there. So okay, this is the overall initial plan that we're going to be having for the creation. So, always, for a start, we're going to start from a plane, and we're going to be creating like a rigid base, and then we will create a more soft overlay on top of that to create the hoodie and all the folds. Okay, so let's get started and create the first plane. With the symmetric copy. We're going to put it around because we're going to be creating the base of the neck, not the area that goes up. We're going to give it a little bit of roundness by moving the vertices and we're going to be creating a hole inside. But first, we're going to be adding a few extra points. And now we create an internal line with the base of the circle. We move it to the center, and we are going to be using this around the neck, put it in place, make it slightly bigger, and we are going to cut this to create the neck hole. We get rid of the excess of fabric, stitch both sides together. Now when we simulate, we already have some sort of layout to start to build from. Now, we want to have a rigid preset. You guys can go with the one you prefer, but I'm going to be using this one. We can actually the density a little bit so that it doesn't float as much. Now we're going to be right clicking on the points and convert to curve point so that it is a round surface. Now we're going to be doing some small adjustments so that it gets similar to the reference that we created. You guys are already familiarized with this, like we just need to keep tricking the curves, moving the vertices until we are happy with the overall silhouette. And once we have this base layout laying over the shoulders, we will then create the tube of the neck that will act as a support, both for the overlaying layer of cloth for the wrinkles and also as a stitching point for the hoodie. Okay, so the base is looking pretty good so far. Maybe just a little bit of refinement here, refinement here sorry, and maybe on the other side. But so far so good. Okay, I think that will be pretty much it. So we're going to be hiding the avatar in just a second after we set the layers and the density correctly. We're going to be creating now the base for the next piece. We create here a rectangle using the same measurements. I think I did measure this wrong. Let me adjust this. Okay. That should be good. We duplicate it with those together and we should have an okay base to start working from. Let's get the avatar back on. Let's start adjusting the properties on the angle of the curve. We might have to address a little bit the upper part maybe make it more pointed towards the front and less tall towards the back. That is the front part. You will notice it is connected for now. We will cut that a little bit later on. I'm trying to create a correct curvature for the neck on the backside. Playing with the angle, but not quite happy. We want it to be a little bit more open inflated towards the outside. Trying to force the shape here with really accentratd curves and hopefully we'll get somewhere close. Still too thin, so we might have to do something about that. Although with the overlayer, it will get fixed a little bit. Okay. Okay, trying to play with the price a little bit to see if we can achieve some sort of similarity in the structure. I mean, right now, it is floating too much, but we still want it to feel rigid. I mean, usually the sort of constructions could be done perfectly in zebras, and maybe the Hoodie and Marvelous, but we're going to try go all the way in here. So let's play a little bit with everything we know so far. This is also well, new territory for me in some way. So I mean, I've done stuff like this before, but sometimes you just need to try. Like I said, every avatar, every cloth piece feels different. So maybe adding these borders, common technique we have done a few times already can help us maybe by bringing rigidity to the border but not to the base. So let's see. Let's try playing with the web and and weft. I feel like the shape of the patterns is good for now. I don't want to change it much. I think we can get away with the warp and weft, sorry, and changing the angle and the pattern a little bit. But let's see. Is not looking too bad, to be honest. Oh, this is good. This is quite good. Let's see if by adjusting this area, yes, I think it we hit the spot right here. Maybe not that. Okay. So normally I would speed this up for you guys, but because it is, like, real time trying to figure out something which is not easy to achieve in Marvelous. I'd rather you guys see which parameters I'm actually tricking. So as you can see, I'm playing a lot with the weft and with the wb sometimes adjusting slightly the pattern, but it's not really my main source of change right now. I'm happy with the shape. I think we could use this for now. So having this freeze can help. I need to adjust a little bit more. The shape overall is not too different. I could fit within my parameters for blockout. So that kind of makes me happy. But let's try change this a little bit more, see how it changes. A Okay. So the tube part, I'm pretty much convinced with it. This area right here. I feel like we can sort of improve this and will help us also get a better result on the rest. But I think I'm going to speed up this area because the major issue is already solved. We already have a pretty good fall a pretty good preset, so it's actually falling correctly on the back. The shape of the neck area is cool. So now I'm used rebuilding the base by changing the pattern size, by changing the angle. At this point, this is not going to be changing much. So it's not going to be a super fast time lapse, but just a little bit so it doesn't get too boring and at the same time, you guys can appreciate the changes that I'm doing. I'll see you in just a few seconds. I Okay. So adjustments on the base is mostly done. So let's go ahead and create the cut for the front area of the neck. Like always starting from an internal line, which outlines the basic shape of the cat. We want to make sure to check in once again that we are getting similar shape to the reference. This is quite accurate, I would say, but still, let's check. That's pretty good. Maybe a little bit less. In here. But I think we are good. We should be able to go ahead and. 1 second. Yeah, so we are going to be cutting this already, but the secondary internal line I created was to already have a pattern that fits in there correctly. Let's just get it in there with a different fabric preset. Do the unfold so that we have the symmetry and remove the middle point, get rid the center lines, sew half and half to both sides. This is a pretty good feel. Keep in mind that the rest of the next carve, we're going to keep it pretty rigid mostly. So it doesn't lose the shape as much. And we're going to be building the rest of the patterns on top of all these. I'm having a lot of trouble keeping that backside close to the body. So let's go once again and try different presets. Let's play again with the density. This is too much. I think. Let's just pin it to the body and play with the length of the thread. Hm. Let's give it a little bit more length so it doesn't feel so fake. All right. Just trying to play with the sewing a little bit to see if maybe whilst making it go so high, it is the neck pattern, which seems like so a little bit. Maybe by creating a separated sewing like I just did and playing with the angle, we can achieve that. We might have to stay with this solution for now. But still it's not quite enough what I like, but I guess we could fix the rest in zebras. We then achieve to fix this here. I Okay. So now let's just create the overlaying patterns. So we select all of those copy paste on the same position. Now we move them apart. Let's get a new fabric preset for them. Different color, similar to the reference. Let's sign it unless you change it for this one. Let's s to the previous base, the corresponding patterns. Okay, and this is the first result we get so far. It is not too bad, too honest for a start. There is some areas we need to fix, but feeling pretty solid, which is quite nice. For the first time. Let's see. So let's play let's play with the seam lines and swell with warp and weft. We're probably going to be doing this for a little bit. We'll cover this in speed camera. But we are going to try to chief is get some more horizontal folds and more of a fluffy and puffy feel on the whole thing, keeping in mind that the interior frame is going to be frozen and still keep the rigidness of the piece. So now we're getting speed mode. And as you can see, we are playing with seam line angle and force, playing with a warp and weft, increasing the density to be able to chief something that feels soft, but at the same time, gives that rigidness sometimes I was unfreezing the under frame for, for the neck, as you can see, to see if I was getting any more interesting results. But I was not too happy, still So that's why I came back and restructured it a little bit. As you can see, I got rid of the patterns and did the same once again, copy them, see them again. Play again with the same line, play again with the warp and weft. So you can see, sometimes we need to throw work away, so it's trial and error. Again, curves. Try once more. I was trying to work both at the same time, leaving the interior unfrozen, but used with a more rigid preset. The thing you saw right there was the two layers clipping, so don't worry too much about it. So now we're going to go back to normal speed because what we're going to do to achieve a nicer result, which in the end, I figured out what was not working is that having these two black pieces sewed together was working more nicely, but I was also in need of creating some internal lines both from the neck border and to the shoulder border. So I'm creating here the offset for the shoulder border. And I'm just going to do the exact same thing on the neck area. Just that allowed me to have some more rigidness keeping the overall shape better and then getting more interesting folds done on the black pattern. I still needed to pinch for a little bit. But so far, the result was much nicer after trying different cloth presets. So now doing the same thing here of setting and simulating. Keep in mind and stitching both the exterior and interior panels so that they keep the pressure and show that line in the simulation, as you can see when I get closer. So so far, I'm starting to be happy with this. So next, it's going to be pinching a little bit more until the folds look slightly better, and we're going to just almost jump into grating the hoodie. I'm not really caring that much about the backside of the neck because we are going to have the hoodie there. So we just need these extra excess of cloth created out of the warp and weft. This is looking quite promising already. So let's just go ahead. Leave this on one side. Let's use friezet for now. And let's create a rectangle for the Hodie. Let's just sign it the same preset, rotate it, put it in place. Get the hoodie shape a little bit. So let's create this corner. Let's sew it to the part of the neck that's correspondent and let's create the symmetry and seal them together. Let's see how it behaves. I need to set up the layer correctly. Okay. This is a start. I'm just editing this stitching to make it go more forward into the neck because that's how I feel. It works on the reference. We're not going to go in much detail on the hoodie because we are going to be pulling this back and see how it looks. We need to make sure it doesn't bunch too much. We wanted to use fall a little bit, so we might tweak some of the fabric presets. Let's see if it stays. Sometimes because of the bunching, it doesn't want to go down, so make sure you pull from the right places. Also try to work with a low, sorry, with a high particle distance so it's not too heavy to simulate. Let's go to the fabric preset. Let's go into play with the SIM line and internal line a little bit to see if we can get a different union from the hoodie to the neck. Doesn't seem too bad. Okay, let's hide it for a second. Just trying to see how far into the neck we should put it so that it works nicely and how much cloth we actually need. Okay. Let's try again. Let's see. Yeah. This will force the Hodie to go back, which is good for what we want. Let's see if we give it more clothe on the front part. Okay, that even helps more. So now let's give it one more shot with a different preset. Yeah. This falls way nicer, so let's try now. Let's see. Okay. That can work. All right. Let's try all together. Give it some thickness. All right. I mean, it's not looking bad at all. The folds are very nice. Say I'm pretty much convinced. It feels cool, the way it connects, so that's nice. And also, in a way it falls. It is quite natural. I would say it doesn't feel too bunched or too too loose. I think it's fine. Let's try. Just with a little bit less so that it's more compact because on the reference, it doesn't feel like it goes too far. But I think I was more happy like this. Just the middle point would be ideal. Straightening the curve so it is more tight towards the center. Okay. You know what? I think having actually a border is going to help a lot. Same thing we had with the neck. So let's try go, do that. Let's create here and offset, sorry, on these heads. So like I always right click offset, set the measure we like. And now let's just copy this copy paste, actually, and remove the excess of fabric. Checking that the thickness was right. Once you cut this remove axes of fabric, now let's sew it together. Let's simulate. Changing the layer so that it doesn't glitch too much. Whoops. I think I need to put different preset or play with this. It's getting glitchy because it is folding over itself. And because of the layer thing, it's having trouble identifying which one should go on top. Let's see what we can do. Let's just pull it up, stop simulation, then do this thing. Again, with the hoy without folding yet. Let's see if it folds better after clearing the borders same process, remove excess of Fabrico together. And let's simulate now that it's not folding. I think now it's not going to be glitching as much. Let's freeze it just in case. Okay, seems okay. Let's on freeze this and let's try it all together. No, this is going to be nice. Yeah. You see, now the border stands in a more solid state. So it actually feels more compact, more rigid, which is what we are after. This is awesome. Stry slightly different presets to see how it behaves. But the main construction with internal lines and everything we have already, so that's awesome. Remember, it's always like three stages. Stage one is creating the basic patterns and structure, stage two is internal lines. Stage three is when you apply the overlaying patterns and try to get final simulation or not final final, but, you know, like final structurally speaking. And we will try to get maybe more detail in a fourth stage depending on the clothe we are doing. With less particle distance and yeah, trying to get something more wrinkly, but that really depends on the piece we're doing. In this one, I think we will be good with the three common stages we are doing all the time. Okay. Let's play with the word and weft a little bit. Trying to make it a little bit more pointy. And so far, I think there is going to be a little bit more pinching here and there, but I'm kind of happy with the hoodie. This I'm doing right now is just to get some more cloth on the inside of the hoodie and not as much falling on the back side. But I think I think this is going to be it. Not much more. So the next chapter, Chapter 12, we are actually going to jump into the gloves, which is going to be a completely different workflow to what we have done so far, which was getting pretty easy for you guys already, I guess, because it is the same all the time. So stay tuned because Chapter 12 is quite interesting. You'll see in a second. And I'll leave you guys with time laps of how we end this. But there's nothing too fancy, some more pulling, and we will have this ready. So see you guys in Chapter 12. I 13. 12-Creating our gloves Part1: Hello, everyone, and welcome to Chapter 12. This chapter, like we mentioned, we're going to be covering the creation of the gloves. So this process is going to be slightly different to what we have done before, since the shape is quite complex and would take a lot of time to create the patterns from scratch. What we're going to be doing this time is that we are going to be outlining the silhouette of the pattern with this tool right here. This tool allow us to click on the hand just like so, and we're just going to be going over the border, which is where the seams usually go in gloves. We're just going to be outlining the whole perimeter, we could say, of the hands and fingers. This might take a little bit to do correctly, but it will save us a lot of time in comparison to the traditional way of creating patterns in the TD Bipart. So the way this acts is that it will it's basically estimating a two D pattern based on the three D model. So now we will be able to transfer this information of measurements, lines and direction to the wpard. It will create some weird looking to the pattern. It will look like a hand, but maybe like a broken hand, and we are going to be doing this two times, one for the upper part of the glove, which we're going to be closing right now, and one for the lower. So now that we have it, we are going to be looking here just a little bit and making sure that everything is looking nice. Make sure you put those points in interesting areas like maybe joints and stuff like that. And if you see anything too distorted, it is okay. We are going to be working on that on the two the pattern. So it just needs to be acceptably clean, not perfect. Okay. So now we click here, we select the pattern. It's not a pattern yet. Now, We are going to be, sorry. No, I created it. So now, as you can see, it looks like I told you, like a broken hand. We're going to remove this preview. By removing the sorry, first we remove the preview and go back to the creation tool. We are going to remove the upper part of the loop so that we can create the same one, but on the bottom, so we select this point and get rid of it, and now it automatically closes it on the other side. So now we go again, click on the preview and right click. Now there is something we're here on set. It will take some time. But just let it think for a second and should be ready. Two years later. Sometimes this really takes some time. But it's doing its thing, I think. Let me just Okay. Actually, it already created it. It was just overlaying on the same spot, because they are on the same place. So now we need to invert the normals for this one so that it's facing the right way. Let's do the symmetric copy so that it looks correct on the two Depard and it's easier to sew both together. So now we're going to be doing a little bit of cleanup. So what we want to do is to clean the curve points because, as you saw, it was a little bit overwhelming. So we just want to simplify this. It's like, making it like polygonally, not curved. So when we do that action, you'll see that it gets a lot more simple, which is what we want. Um Now in the tips, we just want the opposite to make it rounder. This way, we are achieving cleaner lines. In the end, the objective of this cleanup process is just keeping sort of a consistent structure within all the fingers both hands, achieving some clean curves, keeping two points on the tip of the fingers, and then couple as well on the base of the fingers. This looks much better now. Yeah, but we still need to clean up this area. And when you speed this up because it's the same process until we have both sides cleaned up, and we will continue with the process. Okay, so now that we have cleaned up the main shapes, and we have simulated the first time, which didn't go so badly. We can see that we have some stuff to fix. First, we're going to try fix all this clipping, which can be easily fixed by just pinching here and there to indicate the cloth which weight has to go, not inside the mess, of course. And we're going to try get some initial folds on the gloves. Just trying to sort it out somehow. Maybe with more density, it's going to work a lot this year, and it's not getting really that heavy to simulate. So yeah, let's keep it that way for work. One thing we want to do early on, since the gloves doesn't seem to work very badly, and the amount of excess of fabric seems to be good is that we are going to be just playing slightly with the preset. I want to make sure we have one for this one that works. Nicely. And once we have decided which one is going to be, we are going to be creating the internal lines, playing a little bit with warp and weft to create or first base or first structure for the glove creation. This part of the process already gets similar to what we will find in the pants and the shirt before. But still, I will do a little bit of explanation, even though we use the same techniques. So I'll speed this up slightly and comment over the Okay, so what we are going to be doing here most of the time is just pinching, pulling, getting the cloth we created in position. Those folds in the palm are actually quite nice. So we are trying to preserve them somehow, but not as big as they were before. Otherwise, they will look weird with objects holding in the hand. So we play with a warp and weft to try to get something which is not very exaggerated fault wise, but something that has some interest. So the pumps to me are working quite nice, just trying to get some more interest on the thumb area on the dorso of the hand. So for that, we're going to start creating the internal lines. We're going to first create the sides of what will be there is like this arc, this middle piece that goes over the gunlet. So we're going to be creating the first landmarks for this. So this looks quite okay. We want to the internal line to go just exactly around the thumb between the thumb and in the index. So just find the middle point. And then the curve must braise correctly the full thumb. So make sure it really goes all the way. We're going to split this up. Because usually in gloves, the thumbs are separated. We're going to right Yeah, sorry. We're going to keep pulling a little bit because after a few simulations, the cloth starts to fold. We don't want to freeze the glove, but we don't want to grade those folds you see right here on the knuckles. So, this one is looking quite okay. Mm trying to get something more relaxed. So it doesn't interfere with objects in the hands. In case we want to do any, which we will do. Okay. All right. Since we are just pinching and pulling, if you guys prefer to go to the end of the time laps, go to the minute, 13, 10 seconds. Okay, so we are done pulling and pinching from here and there. So now we are going to start working on the internal lines to construct the next stage on our glove. So we're going to create the one for the border like we usually do. So let's create the offset line. And you know what comes next, copy paste on top of it, display, cut, remove the excess of fabric. Usual drill, you guys already are pros at doing this. So we stitch it together. We assign a different preset for more rigidity, and we got it easy and fast. All right. So now that we have this, which is going to be creating the opening for the glove, and it will allow us to have more control over it. We are going to be, let me just open this up a little bit more. This type of control will be very difficult without the border, for every cloth piece is usually very nice to have this additional piece of fabric in every border that you want to control more specifically. By the way, we broke the cemeterrial already on both sides. Yeah. Sorry about that nonsense. We were just trying to get these straight. I just created them from the original pattern, but it was not working so nicely. So creating them straight is allowing me to have a better shape, more contrast the shape, actually. So this is how we want to go. Okay, so let's speed this up a little bit. And basically, what we are trying to do now, which took me quite a long interaction, it is to get the border of the glove wide enough as we can see in the reference. And the approach that I tried was, was to make the border going on the other side of the glove, like you said before. Then now I'm trying to bring it in the inside, and I'm trying to freeze it, scale it up, make it larger by simulating it without having the glove activated. And this way, it can expand because of the preset it has. And once it expanded, I freeze it and I simulate the glove on top. But I was not very happy with the results. So in the end, I just left it, like you guys see on the screen. So basically the glove goes on top of the ring of the bracelet. So now what I'm trying to fix here is the tips are always falling, obviously because of gravity. So because it's a continuous issue that I'm getting, and I don't want to be pinching all the time. A Troy with web and wb, it doesn't work as nice because, yes, it makes the finger tighter, but it removes most of the folds that I have on the gloves and it's not what I want. So what we're going to be doing is we're going to be pinning those using a different tool. So they're going to be fixed in that position and they're never going to fall again. So for that, we are going to be using the pintol which is this one right here. We're going to be selecting a lasso on the tips and same on the other side. And of course, this is after placing them in position with the pinching, sorry. So now I can freely turn the webton war again to the previous value, and the tips will stay in place. So now I'm able to achieve nicer cloth simulation on the whole glove without really having the shaggy tips of the fingers, since they're always going to stay round and sharp. So now you see that even if I change this value a lot, tips stay the same, which is what we're after. So we're going to play a little bit with these values. Until we're happy with those. So since we don't want as many folds in the palm of the hand and to keep more in the wrist, we need to have this orpanwvve we're going to be ironing palm of the hand a little bit. So we're going to use the iron to freeze the rest just in case. And we're going to use very softly go about this area, using the shrinkage for that. And you'll see that now we are getting more tight and tight every time, which is what we want. Close to the fingers, we don't want to have much looseness. So that's why we are painting like this. And then on the fingers, we're painting a little bit of more shagginess so that we get more folds, but still not those that we were getting on the hand. So the tool is quite nice. Once you are already happy with the overall proportions and amount of fabric that you have in a piece, if you use it very early on, it will mess your simulation up so badly. It will be so difficult to control. So just use it when you're fully happy, and you just want to do small edits on specific parts like we are doing now. This glove is about to be final as the base. We're not going to be working much more on the base, and we are sure that it is going to work nicely. If we use the iron. But if we have done this before, it will take us probably triple the time just to get the gloves in a good state. So always use it in the end of the process. So now we're going to be using the iron a little bit more on the other side of the hand to achieve more detailed result as well, and that will be it for Chapter 12. On the next chapter, we will be covering some more detailing on the glove, especially on the centerpiece and some other details. So see you guys on Chapter 13. 14. 13-Creating our gloves Part2: Welcome to Chapter 13. After creating the base of our gloove, we're going to proceed and create the rest of the internal lines that are going to be the landmarks for the centerpiece of the gloove. So first, we're going to be creating one of the sides and the other the other side. Now we're going to try to replicate the exact curve that we have on the reference, both from the interior and from the exterior of the hand. Keep in mind that it's going to be like a pattern stitch to the glove itself. We need to align properly the internal lines to avoid any issues with the stitching, and now we're going to refine the curves so that it feels more like in the reference. Trying to get it some fashion here, making it go around the hand. But in a cool way, just trying to fix how this looks. Okay, this looks flows quite nice. All right. So overall sap is quite nice, still too thick, I would say. So let's go and refine this a little bit more, and once we're ready, we will proceed with the shape creation. A Okay. So now that we have policed the internal lines, we're going to be offsetting a few of them. To create that double stitching effect that we usually, we are going to make sure they're properly aligned. So we need to move them slightly so that they fit as perfect as possible. Now this speed up process is just going to be making sure the internal lines trim at the border of the pattern to avoid any issues like mentioned before. Now that we've done this cleanup, we are going to proceed, duplicate, well, copy paste the patterns, cut on the desired internal lines, which are dis right here, and we are going to be cutting. I takes a little bit. And now we get rid of the fabric we do not desire. Since we just want to have the middle center piece, we stitch these to the corresponding areas. Same for the finger on the under part of the hand. Let me just do that again. I think I removed the wrong area. I want to adjust the curve a little bit better. So yes. Quickly stitching this. Stitching both of the internal lines. We're going to be adjusting the fabric preset on this so it looks slightly different. And it's easier for us to identify, so it's going to be slightly darker. And now we do exact same thing as we did before with the tips, we want them to be a little bit more tense, a little bit more tight. So it doesn't look like this floppy thing hanging from the finger. So we need to solve it somehow. I was throwing iron, but like I told you, sometimes it makes it even more difficult. Let's see how this works. Okay, this is slightly better. But yeah, the tip is not really working. This is going to be a little bit tricky to solve. So let's try. Okay. Maybe by making this certer, we can get a better fit in here or it will get crazy as hell. Let's try ironing again. Maybe with more strength and see what it does. Well, this might actually might solve it. So I'm sewing this to the interior part of the gluf and see how it behaves. Okay. I mean, it kind of does a trick. I used to stitch the bottom part. The upper part is not stitch, so it still feels like it is loose there and just has a seam going through. So I think this could be a good solution for now. Let's just get to the rest of the glue. Okay, so let's actually create the border here. Let's offset an internal line. This will help us to create the differentiation between the underglove and this piece right here. So we're going to always copy, paste, separate, cut, and remove the excess of fabric. We're going to seal this correctly. And we are also going to adjust a different fabric preset, the one we're using on the other border, change the layer, same processes always. And now we are going to try create a more rigid and separated shape for the border. So now we're going to be selecting the underglve Oops. I think we're having issues because of the layer and the warp and weft. Okay. Let's freeze everything except for the gluf. We are going to be pinning the tips to avoid any movement in the changes that we are going to be doing. Now we freeze back for one sec. And we're going to start with this one right here. First off. So we want to offset this. We're going to use those lines, offset again. Same thing here. We're doing double stitching. Okay, we don't want to lose the round shape, so make sure you always have one of the size freeze at any time. This process is a little bit tricky, so we need some patience to try to see which part is going to be working. Let's try to change the angle and strength of the internal line for a second. Okay. Trying to think how we're going to be doing it. All right, so let's try to put this manually. Let's just change the angle there, the strength. What we want to do is for the internal lines to make some force for the border of the gunlet to open a little bit. But it's a little bit tricky to do it this way. Let's just get some more work done on other areas. Since right now, I'm not fresh enough to fix this. Sometimes it's good to change the task you're doing. Focus on something else and come back later on. Maybe the solution gets easier. Let's just keep refining the seines so that they look more like deep and yeah, make the overall cloth feel a little bit more thick and realistic. So let's just go seamline by seam line. And this is kind of the result we're looking for. Trying to freeze all the patterns I'm not working on to avoid losing the structure and the folds of the glove because I was already pretty happy with those. So I just simulate one pattern at a time. And this way is pretty good to keep the overall shape. Otherwise, when we simulate, we risk losing all the structure. So Let's just try now do this. Again, I'm going to do the loop around. Maybe that will help me bring more rigidness to it. So like I said, let's just get more work done in case we cannot solve that yet. And maybe by adding some other rigid pieces around, it's going to be easier. Let's create the rectanal here for the bell loop. Same, create a new fabric preset for different color, different properties. Now, we are going to be sewing it here on the border on the interior because we want it to loop around. We set the layer to two, so it's overlaying the rest. And then the other part is going to be sewed on the border of the second piece. Interior as well. Whoops. We may need to increase. Particle distance will decrease actually. Yeah. Because it is stitching on the inset, we need to be careful with layers. And also might be better to set to zero and now increase particle distance. Sorry, Ncrese always messed up. And now it will look much nicer. We might need to make it shorter as well. That might be too long and too wide. Oops. That is much better. Still might need to adjust a little bit more and soft that weird twitch that it has there. That can get fixed by changing, again, the particle distance. Now, let's do a copy for the other side and just replicate this stitching. Y Okay, now it's time to try again to open this. So we freeze the overglove we're going to try get this a little bit more open by playing with the angle of the stitching. We might be able to get it more wide open. By increasing the solidify amount, because I think I mentioned it that we solidify these two patterns inside. By increasing the amount, it will tend to open more, but to a certain amount, so we want to keep it in place as well. So in this occasion, it's going to be more a matter of playing with the solidify value and also the stitch angle or the internal line angle of that segment. With that we could achieve more open angle overall, but still we are not there yet. Okay, so we're going to keep trying to get some more falls into this new piece we created by playing with the warp and weft and doing some pinching and pulling, and we'll shortly get back into the border to see if we can achieve that opening we were talking about. All right. So we're going to get back into the borer. And we are going to try make it straight again because it's not working so good with the curves. We want to try different presets. Let's see if we can get these to really open. Okay. Having this stitch to the laces on the sides helps a little bit. But we might need to use, like I said, reset this. Let's just get this straight. Usually works out better this way. Whoops. I need to fix that. Alright. Let's make. Let's make it straight vertically and horizontally. Okay. Et's try to get it serve in place. Now, the opening is quite nicer, as you can see on the bottom part. We want to center it slightly. We might need to freeze this before continuing. And now let's resimulate the laces and now the center pattern we adjust this hopefully in a good way. That's right. Okay. I need to give it some more space. There was not enough for the laces and the gauntlet. But this is looking quite nicer. Let's try with different preset. So I just wanted to try if it was going to stay in position, but it doesn't seem like so. Okay, and strength is not making the trick. Well, Okay. Okay, so I think this is as far as we're going to be pushing the border for now. It is not too bad. I think we could improve it. So let's see, we'll come back later on. Like I said, when you get stuck in these areas, it is just better to change to a different one and see if you can improve the overall quality. So now we are going to be wrapping up Chapter 13. We're going to still pint a little bit more. Try try different approaches to each pattern. We're going to be trying the pre set of Muslin 32 38, I think it's called. We're going to play with the Wb and web, and we are going to be pinching a bunch of times to see how it actually works. And once we're done doing those pinchings, we'll jump into Chapter 14. So see you guys in the next chapter. I 15. 14-Creating Final Sleeves: Welcome to Chapter 14. And this episode, we're going to be creating the other glove. So for it, we're going to be copying this one, duplicating about here. We want to estimate the distance which we have one glove to the other so that when we place the patterns, it is sort of in the same position. And we're going to be doing the correspondent changes to it. So first thing we noticed is that it's not as long, so we are going to be folding the wrist. Let's save as a new sin just to avoid having too many patterns on the same sin. Okay, so first thing we need to do is get this fingerpiece removed because we can appreciate that on the other one. And we're going to be doing the pink overlay we have here on the right hand. So first, this is going out. This is going out as well. We might use it as a similar base for the other pizza. Let's actually try to get this. Let's create an internal line around the same measure. You know what? Now, let's just remove this and all this. Let's adjust the internal lines here, and we will just create it from scratch, which is going to look nicer, I think. So let's just get rid of the offsets, which we don't need right now. It's going to be more troll than anything. Let's just adjust this one this one, let's just remove the other segments and connect this. Now, we want to make sure proportions are right. Let's check this with a reference. Okay. All right. That looks about right. Just making sure the direction that it goes on the other side of the palm. It looks about right. So let's just offset this. Okay. Okay. All right. Let's get these two lines. Let's offset them already. Oops. What happened there? Yeah, the distance was too much. So let's try to get it smaller. Same thing here. Let's just do quick fix on the curves and try set all of these. Let's offset as well. And this measure seems about right. Making sure this fits correctly. And now we will create your laying pattern. We copy paste like always, move to the side, remove the well, cut, and remove the pieces we don't want to keep. Now, let's create a new fabric preset with a pink color so we can differentiate it better and adjust individually. Now let's stitch it together and simulate together. Layer one, so it always stays on top. And we sell it to the exterior internal line, so we can also create pressure with the interior one. Like so And we are good, I think. Let's see. Yeah, this looks cool. But we want it to make this a little bit more rigid, like a shell, rather than some cloth going on top of the glove. So we will change later on how it feels changing adjusting the fabric preset and some settings. But for now, we are going to work on the folding of the wrist. So we are going to be offsetting this line. We are going to be using it as a folding point. So we need to set the offset to the right amount. I think that would be good. So now let's just cut and we're going to be rotating these two patterns so that they face towards the exterior. And we want you to freeze this part that is going to be folding, so the rest doesn't simulate. Let's freeze those, simulate and see how it works. We need to change the layer on this so it doesn't mess up with the pink part. And it is a good start. It is working pretty decently. Also, the glof is looking marvelous. That yoke, the glouf is working pretty decently. So now let's try to improve this a little bit. Let's go and do the usual process of fine tuning. So I'll speed this up but cover it with ice over. So we are creating the border like we usually do and assign a different fabric reset so that we have more control on it, but we're going to be tricking first this base fold part. So we pin the fingers so that we can simulate all together. And we are trying to achieve a round fold. So that's why I'm working on this area right now. I'm making the pattern straight, so it doesn't fold in a weird way. But like you can see, I'm just trying to achieve a very round effect on the corner rather than just very thin and pointy. So that's why I'm going back and forth, changing the preset, changing a little bit the shape. Making the part, which is like the external part of the fault, we're trying to make it a little bit more rigid. So either by reducing it or by adding this border we are adding right now, the border process is pretty much the same as always internal line, duplicate the pattern, cut, stitch the desired part. And this allow us to get a more rigid border without any deformation and still keep a pretty nice soft fold angle on the glove. So this is already quite close to what we're after. So we are going to freeze interior and just get working on this part. Because the rest of the process of tweaking the folded part is not as complex and detailed. We're going to speed this up a bit more, and we will be back in the next step. A Okay, so we're done with the folded area. It is looking much more puffy. So let's focus now on the pink part. Like I mentioned before, we are going to try different fabric presets until we achieve something more of a shell, plastic cell or rigid filling. So let's simulate it with the internal line, the new fabric preset we selected. Let's try how it feels with the gray patches on top. So let's create an internal line for it. Let's put it on top on the position and scale correctly because right now, I think they're slightly large. Let's try, though. Okay, so let's copy and paste, cut, remove the excess, and let's stitch those to the corresponding patterns, sorry, segments. Let's set the layers at the thickness so it simulates properly. Okay, it looks quite similar, so I would say this is a good start. She play with angle a little bit, so they feel a little bit more inserted. And to be honest, I'm quite happy with the overall result of the glove. The folded part can improve a little bit. So let's get some more work on that. So what we're doing now is same thing as we were trying before. This took quite a long time to iterate, but basically is playing with the internal part of the fold and the external part of the fold. Same way we did with Nick to achieve a I like a thicker result, which is what we are after. And in the end, this is just personal preference. I just wanted it to feel like sort of a tube, like a pretty thick and rigid tube. And the exterior I wanted it to feel soft and foldy. So that is why I'm playing with a thinner preset on the exterior and a thicker preset on the interior. Also, the internal line is going to allow me to create this elastic effect, which I wanted to try. But as you can see, I'm just playing around, going back and forth, using the same principles, two patterns, stitch together with different presets. And it's going to be like this for quite a while. So that's why I spit this up. But now we are going to jump into the arm piece. So this one is pretty simple. We might also cover it in a slide and slide speed it up video. But the process is going to be main we're going to create the main sleeve, which is going to start off from this rectangle. We're going to simulate, let it simulate and lay on top of the arm a little bit. Now we're going to sew it on the sides. Make it shorter because we don't want it to reach all the way. And simulate again, is getting in place, making sure we are not using the gluf as a simulated object. We actually deactivated it, so it doesn't affect. And now we are saving this as a new scene. The reason I'm keeping there the gluf is to use as a reference for measures to know where it actually is, but I'm not going to be using it for simulation. So this is going to be our main sleeve. We don't need as much folds in this, but we want it to feel softer on the arm. So not too loose. That's why we are adjusting the measures on the bottom part. Just making sure the feed is correct. Okay. That looks about right. Now we're going to just pinch a little bit more to achieve some wrinkle wrinkle, sorry, wrinkles around the elbow. Change the weft. And it doesn't need to be anything too noticeable. Just something soft and light that adds a little bit of flavor to the arm to the arm cover. So then it is not just like a flat tube. But we're going to be building a few more pieces on top of this, so it is not really that important to really police match. We just want some interesting falls happening, and that would be it. Okay, let's create the double slip here. We're going to select this one. Create a new preset for it and copy paste, move to the side, always adjust the measures, sign the new preset, so it has a slightly different color. Yeah, adjust the size now. And the layer, so it stays on top. Okay, that is good. Okay. Let's play with the friction. That is, how much stick it gets to the character. If it doesn't have much, it will just float over the surface. It will not get sticky. And if it has more, it will get more sticky. So it is easier to keep this kind of patterns in position with more friction. All right. So now let's just place the internal lines around the same height. We're going to be also changing the length of both. This one, apologies for the large. Sorry. We're going to play with a warp and weft, so we get more faults going on in this one, especially on the leaf area. Sorry, on the forearm sleep area. You know what? Et's just keep this as it is. We don't need much more detail in here, so let's jump work on this part right here. Okay. So let's get all freezed. Create a pattern which is going to be the base for that. We are going to be placing it as always in the position, simulate very softly and see if the proportions are right. Just slide the longer. Let's try to get the coroners looking nice with a bevel, similar to the reference. Let's just simulate for a second. I think you overdid the pressure. We need to put a slight amount of pressure so it goes towards its normal negative vector. If we put positive pressure, it will fly away. If we leave it in negative, it will just get sticked to the arm. We just leave a little bit of amount, so it stays there. We're going to tweak a little bit of pattern, and once we are happy, we will just freeze this and use as a base for constructing the rest. Let's try of the presets to see if any of those work better as a soft pad. This one is quite good. So let's just stick with it, freeze. We're going to copy this pattern, but make it straight first. Okay, let's just offset the whole thing and now copy this one. And we are going to be coping it as a layer clone. Now we just have to play a little bit with the angles of the internal lines and the force, and it's going to create this soft pudding effect, keeping both pieces together. So far, we have the interior one with the pressure An exterior one will have a compensate pressure. Okay, now, let's try to get a little bit more information on these folds. So more density. Let's try to pinch a little bit playing with web. Now we're going to try to do this belt loop grabbing the pad. So for now, this is going to stay as it is. We just need to do this one more thing, sec. Segment the sides so we can actually get the loop, the belt loop going from around to under this pad, like the reference. So now we create this one. Let's rotate and put it in place. Let's simulate and say, Okay, we need to make it shorter, obviously. Just playing with the sealings to see what works better. Okay, this is good. Okay. All right, so we're going to try and improve the puffy effect on these two guys by changing the preset. I mean, it doesn't look too bad. But like always, there is room for improvement. So let's just go back here since I don't have very clear what I want to do to the pad. So let's just simulate all together and see how it feels. Okay, so it's okay. So let's jump and get this piece done, the pocket. And yeah, use the flap and the belt, not the belt, but the clip that holds the flap composition. So we are going to start over from this rectangle. And there is where the pocket is going to be stitched. So we are only going to be stitching for now. Yeah, the bag itself, the flap is going to go somewhere else. So let's just get this adjusted. Get the base for the pocket in a different color and different preset. In. Now let's do this offset batter outline, which will create the sides. And this tool works perfect for pockets and poaches as well. Here we can configure the specifics of what we want. We want, in particular, this distance more or less. And we're going to be stitching this one to another, so it falls and then this to the base. We want some extra room because we're going to be doing the falling over itself effect on the pouch. So that's why we did another, like, extrude of the segments. Those that need to be stitched to each other. And now we can play with those angles so that it feels not this way, but the other way around. And it keeps sort of the rigidity on the reference, but we still want it to make it feel a little bit looser. So let's go ahead and split all these segments and now we are going to create internal lines that will allow us to control the angles of the sides. So now we can grab those three, trick the angle. Oh, sorry. Took the angle towards interior or the exterior. Obviously, we want to go for interior, like so. And now we can do some stitching in here, and that's how we are going to fold the upper part. It might be too aggressive, to be honest. So let's see. No. Just trying different configurations and see which one convinced me the most. But this one is not too bad. You just need to make this work slightly better. This preset makes it better for sure, but we lose all the volume. So let's try get these angles better and maybe a different preset and hopefully we can get acceptable result in this because right now it's not too nice. Okay, we want to chew this curve right here. This must be smaller This must be longer. That is better, I would say. Okay, that is not too bad, actually. Okay. Let's play with the angle of this one to see if makes it better and also the sides. I think if we end up changing the main three, which are from the one we're extruding all the segments, I think that is going to be the key for a more soft pouch filling. So let's go and do that at some point. Just want to make sure before that. And Yeah, this is what I mean. This looks already more like a soft cloth, which is what we are after. And actually, I think we're going to be better off without those stitchings. Mm, no. This was not a right step. I mean, it doesn't look bad, but maybe it's too much inflate. Yes. So since I took 15 to 20 more minutes playing with this without much success until the end, this is a time lapse of how it went. So in the end, what I ended up doing was changing the stitchings and the way the poach was constructed, so realized we got rid of the under part, and now it's just like, like a rectangle pattern. So that made easier to fold the lower part as well as the top part. And having that internal line on the center allowed me to get some more extra volume. So that is the best approach I achieved in the end. And the result you guys will see you see here is what stayed. So now we are going to copy this, cut, and we're going to use this as a flap. We want to get rid of all the segments. We just want the same measurements for a rectangle which is going to be stitched here. We're going to just the length, cut the corners, offset like we always do for more details. Play with angle a little bit, so it correctly on position. But yeah, like I said, we're going to cut the corners now. We there and there. We're going to be offsetting some parts of the flap to sew on top a copy of the flap as the border. So this way, we have the flap imposition looking much more fancy. We are going to set this like we said, and layer clone over. So we are going to, as well, play with the internal lines just a little bit, so we get the border effect change those angles like we like to do. In the end, as you can see, many times the patterns and simulations we create in Marvelous are not as complex, really. But it's just a faster way, I would say, to create those shapes than you would be doing them in zebras or any other software. So it really helps out. And as well, it's not just creating them, but it's also easier to tweak if we get any feedback. Or easier to scale the quality of the result. So right now we are mostly blocking out most of the pieces we created. Some of them are going to stay like they are. Some others are going to be re simulated later on for more quality. Maybe the t shirt, I don't know, we'll see. But you see, it's a fast way to create a preice set of volumes. About scalability, like I said, now we have a pretty good set of volumes to start off and we are going to just keep working on these exact same patterns we have and by adding some internal lines to add more control by playing with the web and webt like we always do, playing with the angles of those internal lines and changing some parameters on the cloth presets, we are going to make this look much nicer. So enjoy a spit version of that, and we'll see you guys in Chapter 15, where we will jump into a new piece. 16. 15-Refining Belt: Welcome to Chapter 15. In this chapter, we're going to be covering the creation of the poaches and the belts. As in previous cases, we are going to be starting off from a reference and then creating the basic patterns to construct the poaches. This whole chapter is going to be speed up since the process is quite simple, and it is the same as we have been doing till now. So we will be commenting this while on a speed camera. So for now, we have created all three base patterns. One is going to be all the side loop for the pouch and then the back and front flaps. Now we're going to be creating the base of the belt where the pouches are going to be hanging from so far, everything is going to be pretty simple. Just basic rectangles. Maybe we can add some curves, but we don't need much from now. We're going to be duplicating this pattern to create the padding effect after offsetting the exterior borders as internal lines. We're going to create one more plane, long one that is going to be the circumference around the waist and the main structure of the belt. We pin certain parts of it so that we can rotate it around. Otherwise, the simulation would be very difficult to go around the waist by itself. So by pinning it, we have this control that we wouldn't have otherwise. It is important to deactivate the reference so that we can work freely during this part of the process. And we are going to measure how tall the belt is so that we can create this segmentation in the pads as well and we can properly stitch it together. Now that both are stitched together, we can simulate the belt. And once we have that simulated we can freeze everything and simulate together. We're going to try to get the same elevation as we have on the reference, but it might not be exactly the same for obvious reasons. But we will try to get as close as possible. Okay, now that the belt and the pads are good, we're going to focus again on the poaches. We're going to be creating a duplicated version so that we have a certain amount of thickness. And it feels more puffy. Remember to play with the seal lines and the internal lines to achieve a different angle on the stitching in case we want to make this stitching feel like it's going towards the inside or towards the outside. In this case, we want it to feel slightly rigid, so we're going to adjust the angle for that. Create the flaps based on the same pattern on the same vertical pattern for the front, and we're going to be sewing that into the back pads. We're going to upset some internal lines in the side in a pattern of the side of the pouch so that we can create this sort of border around it. We're also adjusting the internal line to create a double stitching for the flap of the poach and something similar on the poach itself so that we can stitch the flap to it. We're going to always duplicate that pattern, cut and remove the excess material to create this plate that is going to be where it's going to be clipping. We had another internal line there, and now is when we see both the flap and the plate. There we go. We have the first pots, sort of a structure. We're adding these internal lines to create these angles to fake the structure of a magazine or something inside. And same way, we're going to be doing a double pattern to add some thickness to it as the rest of the pouch. We're going to continue to adjust the angles and the position of the internal lines until we get something that feels as a right fit. And we're going to be freezing and clipping part of this belt so that we can simulate together because as you can see, the flap and the belt are clipping for now. So we want to simulate those two together ideally. So that's why we're clipping now the rest of the belt and simulate it together the belt and the flap. And now we can freeze back the belt and continue working on the pouch. We're going to work on the sides on the interior and the flap until we achieve a base result that we like. And now we are simulating altogether. But always keeping the interior part of the pad freeze so that it doesn't move from the original position, that we get a natural simulation for the rest of the piece. Okay, now we're going to start making this a little bit more nice, get a nice color for it, adjust the angles on the stitching and the internal lines, so it feels a little bit more soft rather than so boxy. For this, we also decrease the particle distance a little bit. And we are also adjusting the stitching on this piece a little bit. Now we're going to add some more Werb weft. Play a little bit with those values until we get a soft result. Same thing on all the pieces. We want to get some sort of fold on the padding. Remember, we have double sided double sided patterns, I mean, duplicated and stitch on top. So we can actually have different presets for the exterior and achieve thinner and smaller wrinkles. So this is what we're trying to do now. And now one last detail, which is going to be this negative internal line to make it feel like there is some sort of stitching on the flap. So we're going to keep adjusting the usual parameters. We're going to playing with warp and weft internal lines. And I'm not too sure if we're going to be changing much the fabric preset because so far this is working pretty nicely. We just need to get slightly better results. So we're going to go for small time laps adjusting the same values until we have a result we like. Okay. So up until this point, we have been playing with web and web and internal lines. So far, this is what we ended up with. We have created this internal line on the back and we are creating a strap there to use some sort of holder for the pouch. But this is going to be pretty much it for the pouch. We don't need we don't really need more detail than this. The sides are looking pretty puffy and nice. The flap is also having some interesting detail between this flat right now, the front decoration and the angles itself. So now we are going to copy and paste this pot, move it near the other internal line we previously created at the beginning of this chapter, and we're going to sew the corresponding places and simulate. We will need to pinch a little bit and unfreeze the belt so that they all simulate well together. But now we have this ready. Need to make sure to implement it the same way we did with the other pouch, and we're good to go. So pouches are pretty simple. Easy task. It works the same way for every kind of pouch in case you guys are doing other characters in the future. It's always the same along strip for the sides, front and back, play with the stitching lines on the corners and internal lines. Make a double, well, a layer clone over for all the pieces so that you can assign different fabric preset and achieve this puffy look and make sure to add some interesting details like borders, straps and plates that are based on the concept in the reference, but also if they are not, just make sure you add some sort of detail that make more interesting to see that pouch. And as far as they look puffy and you have some main folds on the sides, you should be good because then you can add some more details in Zebras. Remember, we're just doing the Marvelous vase, so small detailing will come later on, although we try to leave everything as good as possible in here. But yeah, don't forget that we still have the cebrus stage coming next. So the pouches are almost in place. I'm just rotating the internal lines a little bit to achieve a cool rotation that makes it a little bit more interesting. And we might want to also pinch a little bit more on the front as well on this pouch to achieve different folds than the ones we have on the other pouch so that they don't feel the exact same. So overall, the feels nice. They look quite solid, I would say. Uh, so yeah, let's go ahead and improve a little bit some areas. So we want to get this done on the belt on the bottom part, as well as the buckles here that might be done in zebras probably. So let's just simulate all together one sec. Let's go and tweak a little bit of this pouch to like I said, get some nicer results and make them more asymmetrical so they don't feel exact same. So now we're getting this bottom part done, as well as the sides. And in the other pot, what we're doing is use playing with the web and web a little bit, pins here and pins there until we achieve some sort of folds that work for us. I think this is it. For the pouches, we're going to jump to the back panel and the secondary loop for the belt. So we duplicate this, we rotate a little bit to get it in place, unless you deactivate the pouches and the belt so that it's easier to get in place. And there we go. Yeah. It's great. Quite in position. Okay, so this is pretty much in position. Let's see how everything looks so far and jump into the back panel. So start by a rectangle, always rotate it and put it in place on the reference. This is why having a blockout is so useful because you can make everything work in zebras, which is a lot easier to trick. And then once you have that, you can use it as an exact reference for your Marvelous designer template. We're going to be offsetting the exterior line. Remember, we always try to curve the corners, both from the exterior and interior, duplicate the panel, remove the s material, stitch to the center of the panel to create that padding effect like we are doing all the time. Play with internal lines so it feels like soft and puffy padding. Let's stitch as well, a duplicated border so that we can also inflate that area. V, we have the base, I'd say, and let's duplicate the back part as well. So we have everything bi duplicated. It's restitching everything so it works nicely. Okay. Now that we have this, let's just offset it with an internal line to grid like a rim and double stitch border, which is going to look nice. Is curving the corners on all four corners. And now let's just play with angles. Remember to freeze one of the borders while you work on the rest. Otherwise, you will lose your saps. And now we're trying to get some folds on this padding. Once we have that, we are going to be creating the internal shapes, internal lines, sorry, for the loops of the Moja system. But first, this needs to look a little bit more soft. Like always playing with the warp and weft and the angle and strength of the lines, we can achieve a prenee result as well as in this case, playing with the thickness of the patterns. It looks more like a thick piece of cloth. This seems to be done, let's go ahead and start adding the internal lines that we're going to use for the loops. We're going to have this duplicated create a loop for those with an offset on top and the bottom so that we can do double stitching, maybe shorter so it doesn't hang as much. But long enough so that it has some silhouette. And just like that, very simple way to get a nice result on the loops. Internal lines on the pad and then use two loops with offset lines so you can stitch them and it doesn't require more than this, just play with the lines a little bit at the thickness, and we have a pretty nice result on this. So this is going to be pretty much everything for Chapter 15. We're going to be covering Chapter 16, the merge of all the work of the belt and the pouches into the pan into the pants scene and we'll see all coming together very nicely. So stay tuned, see you guys in Chapter 16. 17. 16-Refining Pants: Hello, everyone, and welcome to Chapter 16. With the poaches done, now it's time to bring them together with the pants. So we're going to import the project right here, and we will need to do some adjustments so that they work on top of the tarp and the pants, and it all comes together nicely. First of all, like every time we're going to freeze everything that we are not working at the moment. So we're going to first adjust all the straps. We can use the pinning to move them without having to pinch as much. We're going to be doing the same on the other strap. This one is a little bit more tricky because the volume is higher on this area of the waste, and we have this padding as well. So we need to be careful and do it bit by bit. So everything doesn't go too crazy, like, right there. Sometimes it's good to try with other parts of the simulation to unfreeze. Try simulate altogether and see how it comes. But like I said, it's pretty tricky. We cannot unfreeze yet the padding, otherwise we will lose shape. So this might be a tricky situation. So layering is also a factor that can affect here. So we might need to go back and play with the angles of certain splines, certain internal lines and stitchings and make sure that we try bit by bit moving, use very little, certain areas and making sure it doesn't glitch. If it glitch, we stop the simulation, we go back. But now everything seems pretty nice. So you can see, I've left the pins on the other side of the belt so it doesn't move while we fix all this. And we will need to relocate moving manually, all the pouch, so they sit nicely together all at the same time on top of the tarp and without glitching. So this part of the work requires a little bit of patience. But now it seems that everything is sitting pretty nicely, looking actually quite nice. I'm pretty happy with the result. And we're just going to make sure that after inserting this and after inserting the belts, we get some pressure on the tarp and the pants, which is going to make everything feel more solid, more realistic, super nice. So leave it simulating for a while, so it creates some pressure and make sure that you remove the pins at some point so that it sits naturally on your simulation. Okay, this area is looking quite nice, quite nice, to be honest. Now, we are going to be jumping into the legs as well to improve that area. So now, I'm going to leave you guys with long time lapse. This is going to be the longest one so far, and there's not much explanation required on what we are going to be doing now, so I'll leave you guys to enjoy it with music. So basically, it's going to be fine tuning of all the patterns that we have done so far, both on the shirt pants, pouches, everything. You will see that the only thing that we are doing is maybe trying different cloth presets to see if it improves anything of the ops, but that's not going to be the main case. Most of the time it's going to be what you're seeing right now, which is going to be pinching from certain areas, making sure the folds are looking as best as possible, maybe playing with warp and weft, like always and just tuning a few of the curves but not following any specific or or anything, we're just going to be trying piece by piece and see how it improves. So as you can see now, I'm just playing with different web and web on the different pieces and see how they react. And if I like the faults, I will just leave them. If I don't like them, I will just try different thing. I'm not trying anything in particular because I know that it's going to behave that way. It is just trial and error. If I see that I want some more detail like I'm doing now, I will use the iron and specific parts since now we are working towards the final details and simulation. I think that's all the notes I need to give you guys. I hope you enjoy this part of the video, and next step is going to be just jump right ahead into zebra and detail all the work that we have done here. See you guys in the next chapter. I. 18. 17-Creating Final Cape: Welcome to Chapter 17. Hopefully, you guys enjoy the previous time laps in which we were detailing the different parts of the simulation. And as you can see, they look pretty nice in here, even though they are frozen. You guys are going to be seeing this in a little bit because we're going to be bringing all these to Zebras. But first, we're going to be creating the cape, which is the last stage into this marvelous part. We didn't have it before because it makes our life more difficult when detailing the rest of the clothe, but it is time to do it now. What is interesting about the cape is that we are going to be using a wind controller to separate from the character and create a slight wind effect. For it, we're going to come up here. We're going to enable and we're going to activate it here with a tick. We're going to put that in front of the character aiming towards the direction we wanted to activate. As you can see, depending on the strength, it's going to do more or less effect on it. So we want this to be able to separate all the cape at once because as you can see, it is sort of sticking to the character. So this way we can achieve like a soft and natural separation. We want to reduce slightly the strength try bit by bit until you achieve the straightness of the cape that you like. And once we're happy with this, you can just leave that there. And we're going to keep working as normal on the rest of the hoodie sorry, hoodie cape. So what steps are we going to be taking? I know that this is sticking right now. Don't worry. We'll just get back and do the same thing with the wind as before. So we're going to be disabling the Hoodie for now and we're going to be adding the same process that we always do to the cape. So we're going to first adjust the pattern until we are happy with it, both from shape and tilt and every detail. We want from the base. Then we're going to be doing the internal lines and layer clone over until we achieve the thickness and padding that we like on it. So don't worry about all these messy board. As you can see, in the end, the best solution is just to freeze the hoodie. Otherwise, it's going to be doing weird clips with it with the cape. And now that the cape is looking quite okay in terms of shape, we're going to proceed with the previously indicated steps. So first thing is going to be offsetting this like always. And we're going to cut it and remove the excess fabric. We're going to be sewing those borders to the cape, used to add some rigidness to it, like we always tend to do for more control and cooler details. Now we're going to try to always resimulate a little bit after we add any extra patterns to our cape. We're going to upset that again. Use that to create a little bit of extra rim and details. We're going to play with our preset until we achieve some fall details and yeah, the wrinkles need to look a little bit nice. But we need to be careful because as you can see the wind will make depending on the preset, the cape float more or less like this. So be careful. Try different presets until one gives you interesting falls and adjust the wind strength accordingly so it doesn't go sky high. And this looks quite promising. So we might play with this preset, sorry. We need to try to achieve more vertical falls. So remember, uh, we can play with warp and weft a little bit, although in the cape will not have the same effect. So try to pinch. At this point, it's basically the same process as the rest. We have the interior border frozen so that we have that control of keeping the same silhouette of the cape, but still being able to adjust different foldings. So you can keep that in mind. And what we really want to do is not any particular result. But as in general note for characters, it's important to keep this in mind that we need to balance detailed areas with rest areas. So we're going to use the cape as some sort of rest area because we're going to have on the neck, we have the next calf, we have the hoodie, which both are quite complex. They have a lot of detail. They will have even more detail later on. We have the same in the shirt and the arms. They are complex areas. And then on the hips, we have all the pouches. And it is overall a quite complex character, not in terms of small details and stuff like that, but in terms of the reading, it has a lot of detailed areas with different shapes, different readings. So it's important to have small simple areas like the cape. So we just wanted to keep pretty straight. We some soup tail folds. We don't want much information in here. That is why I'm just going back and forth, trying the presets, trying different settings on the presets until one behaves the way I want. And same pre simple, it's the same we have applied to Sorry, to the pants as well, and we will apply to the shoes to the glove and to certain areas, you'll see on the pants, we have the same situation. We have the sides, which are quite complex with the strings, with the side panels. So we want to keep the front a simple. That is why previously on the simulation, we use kept the minimal folds we needed for the pelvic area of the knees and then on the ankles but we didn't overdo it. We kept it very simple. And it might seem that you will left some areas unfinished, you think this way, but really what we are achieving is a more pleasant reading on the character, but not making it too busy, which will end up making it feel like noisy and just not pleasant to look at. So keep that in mind when you're working on different areas on your character, don't try to overdo or over detail everything you have. Try to save some elements as simple elements, especially when you have multiple accessories. I think that's a general note that you guys can apply to any character you work on. Even though the concept it is busy, try to simplify. Sometimes concepts don't usually represent faults. So if the overall design is very busy, don't do a very wrinkly clothing. Otherwise, it will be too much. That is why when I'm working on military characters or any sort of character that has gear on top of the chest or the back. Since the chest is already quite complex and it is like the busy area we are looking for, then I try to leave any sort of clothing that shows from the sides or on the back. I try to leave it quite simple just to balance that. Okay, so while we were chatting, you could see that I was doing some more progress on the cloth, sorry on the cape. That is pretty much done. We're not going to do much work than that. Like I said, offset layer clone over and just find the right details on the folds. So this is going to be everything for Marvelous. Next chapter is going to be pouring this into Zebras, and very excited to show you guys what's coming next. See you guys in Chapter 18. 19. 18-Zbrush Polishing: Hello, guys, and welcome to Chapter 18. In this chapter, we are going to be covering the process of bringing what we have in Marlus into zebras. First thing we're going to need to do is you guys are going to export. Everything you have from Marvelous, it can be from one scene from different scenes in case you work it separately. Select all your patterns and click Export, and then just export it as OBJ in specific settings. The default ones are good. Then import here in zebras and import all the OBJs you have exported from Marvelous. And what we are going to be doing now is make those marvelous patterns look amazing on zebras because by default, you will see when we import them that they don't look as good as they were looking marvelous, mostly because of subdivisions and edges. So we're going to be fixing that now. First thing, we're going to be grouping, some of the blockout resources and try to keep everything organized, and we're going to be importing the different OBJs we have from MRLs. In my case, I went with three. So we have one for the torso, one for the lower part, and one for the arms. So what we're going to be doing now is fixing some flipped normal issues. So you will see that some bothers are not looking as they should or they look weird or they are missing. That is because the normals are flipped. So we are going to be selecting the ones that we don't see and coming here, and by disabling Double, we can see the ones that are actually not displaying correctly. So we need to isolate those and zebras and split into a different selection or mask them and click flip so that we can set the normal looking the right way. This is essential. Otherwise, we will have then some issues when zero missing or projecting. This is a step we need to do on all of our patterns. Make sure you go do a proper revision, proper check and everything. Check that everything has the normal facing the right way. And once we have that, you will see that it looks a little closer to what we have in Marlos, which is what all this process is about. We're going to be doing that for a little bit. A Okay. Next thing you'll notice is that in some patterns like here on the cape, we have the interior part crossing together with exterior part. That is due to some twitching, the glitching we have in Marvels designer. So to fix that is fair lazy. We just need to mask one of the segments, the one you prefer, and just move the other until they are not intersecting anymore. By smoothing, you can make it a little bit easier, or you can just use the move topological or move to to fix that. You will see that by this twitching, we also have another issue, which is that, well, you will see that now, I spotted just a few seconds ago. But we have some polygons that are not welded properly from one segment to the other because the way Marvelous works is that every pattern acts as a different plane. And then when you export them, they are still different planes and they are not really stitched together like they seem in Marvelous. That is one thing we need to fix here. So after modifying this, I was telling you the intersection, you can see that now they are not on the same spot and because they were not stitched together, we have this issue right now. We need to go to Smodel select stitch tool to try to make those two work together. Some use is going to go one by one until I have all this ready. And as you can see, I have a few of these issues throughout the cape. Not just in this area. You will see now that I have to fix this on some small bits, that is going to be spit up because it's the same process. You just need to spot up all those places that glitch in your simulation and try to fix it by flipping the normals correctly, then fixing intersections and then stitching together. So right now, I'm going back to the shirt. What I'm doing is splitting everything by segments. I know we can do that by polygroups, but it's not really advisable because you will see that some really small patterns that we did in Marvelous designer are also here different polygroups if we split by polygroups we will have a pretty hard time then bringing them together, it's better to go one by one. This you have seen me do while I was speaking, is that we are going to be serum messing every part of the shirt. We want to aim for clean edges so that we don't lose that shape that structure while serumssing because we will need most of our edges to stay in the same place so that we don't need to do extra work moving everything together again. So just go pattern by pattern, do a serum mess, is going to be allowed this year, mostly because maybe you were working infraanulated, in marvelous, maybe you were working with quads. In any case, serums is quite good. Really recommended to create the first subdivision of mes. Just go one by one and get all your mess clean. One more step that we're going to be doing before doing pan loops and creating thickness for shirt is going to be creating Ubis for all the patterns. So just you just need to go to i plugging, sorry. We're going to be creating automatic Gibies and try to place them in convenient orientation so that in case we want to add any noise pattern or fabric detail to our clothe, we can have that in handy. I don't think it's going to be the case for this shirt, but I'll show you guys so you can use in any other case. So now, as you can see, I'm making all the patterns visible. All of them are serumssed and clean. The same way we have in our reference, so we kept those lines here and here, as you can see. So now that it's clean, we're going to go ahead and do the unwrap. Click on those settings. Now, it's going to take a little bit. Shouldn't be much. Now, if we go here and we see or UVs, we can select them by masking them with Control click and then rotate them so that they are placed in a way that the cloth pattern will make sense. So if we have straight lines, we want all of our patterns to be aiming the same direction so that if we apply that noise, it will make more sense. So let's do a quick test. H. Let's just try with any noise. Now, because we have UVs, we will be able to apply this noise. And in case that this noise had any direction, like I said, we will be able to apply and keep all of it in the same direction. But I don't think that is going to be the case for the shirt, like I said, right. Now that we have everything clean, we're going to go ahead and create the panel loops. We come here. We're going to set the polish to zero and set the elevation in negative, so the panel loops go inside and not outside and will change or volumes and folds. And this way is how we will create the thickness for fabric. So you can see, we get a prettnice touch by clicking it, not really any work needed. And that already is a pretty good base and clean base that we will be working on top of. So basically, this is the whole process. It doesn't really require that much time per piece. We're going to be doing all these process over all of pieces. And then we will be ready to start detailing. So this is pretty much the process from Marvelous to Zebrus. I will speed this up like always so you guys don't miss anything. But just to remember, we will export from Marvelous designer into OBs, then we will import those Os into Marvelous. We will make sure all the normals are facing the right way, going one by one, disabling in display properties, the double visualization. Once we select those that are flipped and click and flip so that they are fixing the right way. Will go and fix any overlapping of the interior or exterior of the patterns. Make sure everything is stitched properly, like the cape, as you can see now, I can smooth and it is properly stitch. And once we have that, we will go piece by piece and do a serumes for each piece. Then we will need to split before that. Everything into the pieces we're interested in having. Then do the serums that it said. After serums is ready, we will do the UBS in case that we want to do any surface pattern. And after the UBS, we will just do the panel loops with the elevation in negative and the pools set to zero, and that pattern should be ready to go. In the case of the cape, where we had the overlapping and we had borders, make sure that you separate properly or that you seal the borders together to avoid any weird results, but as you can see, by removing the borders that we had from Marvelous from those side panels, after removing them, we can actually create a quite nice serial measure and Pana loops and works very nicely. So we're going to quickly go through all this process. I will not set the speed too much so you guys can see what is going on, and next step is going to be already starting to detail or hi poly, which I'm already quite excited about. Hopefully, you guys are as well. So see you guys in Chapter 19. B B Do. The the I I bras 20. 19-Creating our final shoes Part1: Hey, everybody, and welcome to Chapter 18. Finally, we're going to be getting started with high polydtailing and refining. So first thing, we're going to start off from the first piece that we didn't polish as much for now because we didn't go to Marvelous or anything for these shoes. So we're going to be merging everything together. We're going to be exporting this as an OBJ. Into or folder to use, again, as a reference for the software we're going to be using for modeling, which is going to be marvelous, sorry, three D Max. But first, we're going to be re topologizing to create some clean base for TMax. The software I use for topology is topogan. The process is quite simple by clicking advertises like you're seeing right now. And if I want to connect them, I use Control click on them. And basically, it will connect the previous vertex I have selected to the next one. In case I want to split any edge like I'm doing now, I will just shift click in the middle of the edge and I will use um split that edge. So we're going to try to create a topology that flows with the shapes of the zoo. I'll give you some notes on edit polymodeling, although what we're going to be doing is fairly simple for the zoos. We want to aim to have a continuous topology. So that means that every loop must have start and an end. As you're seeing, I'm not doing any loops yet. The reason for this is that we are going to be using a cell modifier later on to create the thickness of these tbologies we're creating right now. So as you can see, I'm not closing or doing any actual three D volumes. I'm just doing some sides of them. Same thing with the fit. I want to have this continuous loop doing all the silhouette for the fingers. Uh and when I'm doing the interior of that limit, not limit, but segment that I'm doing, I will still do it continuous and avoid closing any loops. I just want to leave them open so that it's easier later on to work on. And the reason for this is that if we create a closed loop when we add another loop later on inside three D max, it will either loop around the whole thing, which we don't want that, and and you will see why later on. So basically, we want to leave everything open. And this way, when we add more extra loops, they will just end on an empty end. It's weird to explain right now, I will make more sense once we get into three D max. So for now, you try to replicate the way I'm approaching topology. In case you don't have notions of it yet, but if you do, just follow your own way. This is just my way of approaching it. There are many different and valid ways to do it. So as you can see here, this is the first loop that I closed. It goes all around the sole. And the reason for this is that in here, it is convenient for us to close it because that way, when we add the loop and it closes the loop, like I said, in three D max, we'll have more density on the bottom part of the sole, and this will allow us to create a rigid border to define that its angle. Like I said, I know this might not make much sense right now, but it will make it later on. So for now, straight to aim to create an even topology that has all the loops ending somewhere and not looping around. And just try to distribute them somehow somewhat evenly. That's what I'm doing now. I'm just moving them a little bit. So we have the same separation between all the vertices on one segment. Now I'm going to use smooth to quickly redistribute the vertex in a quicker way. Once I have done the smooth because it doesn't work perfectly, we might want to go bits by bits and then readjust manually some of the vertices. So they look a little bit more even. Okay. So that is the overall principle for re topology. Not for topology for game, but for topology for creating clean bases for three DMX. So basically, leave open loops unless you really want to increase density on a specific area. Like here, for example, if we close this loop, we will have more density near the edge, so that is why we are doing it. Basically, the will loop around the whole shoe. So we are about to be done with the salt. We just need to add a few more loops to create a more even distribution of the curve. And we are going to export this now into three D max and go about the process that I usually do to convert this temporary topology into a final hi poly base, which will look pretty clean, pretty nice and will start to make your shoe feel more like a final high poly. So we're going to export as OVJ We will create a folder to keep everything organized. We're going to come to three max. We're going to import the soil to rotate it and put it in place. And we don't really care much about where it appeared because we're going to relocate it based on the reference we had from the up. So we're going to hide for now the reference and we're going to get started with or retopo. I'm going to sign a red material to the reference so that I can differentiate it easily, and now I'm going to apply that cell modifier I told you about on the retopo. Also turbo smooth, with this, we are getting started. So you'll see that I'm doing the same for both. It's going to be a pretty similar process, even though one is more round and the other one is more flat. So on the base, the base poly, what we want to do now, it is to do small adjustments to create some sort of cleanness. So we're going to be assigning different smoothing groups to the sole and to the bevels. That is why we have two smooth. One is based on smoothing groups to help us create those angles, and the other one is to smooth the whole thing together. So now that we have that, we're going to try make all these lines as straight as possible. This will make the high poly fuel more clean and more like it is properly manufactured and not just some blobby random mesh. So I'm just going to be aligning all those points somewhat organized. But first, like you saw, I just got rid of a few of them even if they were creating the main silhouette, but I think I can pretty much recreate them later on. So it is going to be easier for me to adjust the curves and alignment of all those vertices I was telling you if the retopo is simpler. So just going about it right now trying to make all these look more organized. So by organized, I mean, trying to look for negative spaces, try to have the same distance on one side and on the other same on the soul. If you have a gap on one side, try to mimic that gap into the other side. Otherwise, it will look just so random will not feel believable. And it will lose overall quality. Now that I cleaned it up, as you saw, I actually added back that subdivision, those loops that I removed. Going to align those as well. And now, it's going to extrude with bebel and try to replicate the volume that we had before. But this time around is going to be more consistent, which is what we are looking for. It is not like before Woods where on the sketch, maybe we had different thickness on the soil depending on which part we were. So now everything is going to have the same thickness and it's going to be curved the same way, which is what we're after. So Okay. So I was thinking, once again, we're going to be doing the smoothing group thing to keep those angles. You will see that sometimes you get these issues like we're having right here. We need to fix that by playing with the different groups and see if it behaves better or not, we can also change the topology a little bit to make it work better. At this point, I'm just really looking at getting nice angles with those different groups. Sometimes you need to play with a combination of multiple groups depending on the segments so that we achieve a different curvature and different smooth. Now those two loops I added are going to be to reinforce the curve and make it a little bit more sharp, but I'm not sure about if I will keep it or not. Those loops are the kind of loops. I told you before that we were interested in closing so that they will go all the way around. And those are thought for this kind of detail. So as you saw by doing a bevel extrude with negative value, we can achieve this detail fairly easy, not saying that it is the detail we are looking for, but it is definitely an option. So in case you're looking to do stuff like this, try to keep closed loops when you're doing your retopo before high poly. If you are not, if you want to have those details fade to the exterior of the piece, don't close those loops. As for the front part, we're going to take a very similar approach, but it's going to be a little bit more enticus to do because we need to adjust and refine a little bit of curves because we didn't have that done in the sketch. We're also going to have to curve the fingertips, actually. I'm going to speed the overall process a little bit because the shoot took quite a few hours, and it's going to be mostly this same process throughout all the pieces. So it doesn't get repetitive. What I will do is play in a higher speed and just comment on the notes that I feel that are important to the overall approach of the character. And if I feel that there is anything technical that I need to mention, I will do so. Okay, so without further ado, let's jump right ahead. Okay, so first thing you'll notice me doing, it is going over with a plane that I created going over the the reference with the shell activated used to have some notion of how close the topology actually is to the shoe to keep those thickness evenly throughout the same throughout other parts of the shoe. Like I said, those details are the ones that are going to make your hi polis look solid and consistent. If they are clipping and have different thickness, different parts of the shoe, it will look just sketchy and not very nice. Also same thing for the fingertips. Right now, they're a little bit random. I'm just trying to make them more even, try to make them more flat, replicate the same curvature for all of them, replicate the same tips, and just make it of flow like it was cut with a laser cut or something like this and just make it as clean as possible. Now you see that I'm going over the loops of the borders and removing them. That was a mistake. I did closing a full loop. It was making my work a little bit more difficult. And now I'm just working with different subdivisions and CAFRs. You'll see me using Quad Sanfer. It is pleading for three D Max. It is used the same as TNFR used a little bit more controlled, but you can achieve the same results with TANFR. Don't worry if you don't have quadfer or you're not familiar with it. So basically adjusting the topology to get those volumes at some extra loops wherever I want to define those lines better. And for creating those paddings, those so I was extruding those polygons and then the smooth and the super loops do the rest of the work. Okay, so since the process of the sole is pretty much done and fairly easy, we're going to be creating some buckles. But if we start with a box, we subdivide it, adjust a polygon to create roughly a blockout of the shape we want to get for the buckle. Once we have that, we're going to be duplicating the element, and we're going to be connecting these two segments in just a second. So for it, we're going to select uses, make some more room, and now, once again, subdivide this, and we're going to be extruding that center polygon. Just let me get the subdivisions correctly. And vertically as well. The reason for this is so that we have more control over where we are actually going to be extruding, in case I want to do any modification, we already have super loops and connection loops for those two segments that I'm connecting. So we can extrude them, and with symmetry modifier, they will automatically see together. Like so in the middle. So because I did all those subdivisions, it is fairly easy to do. Now, I just need to adjust. And once I have the proportions I like, the smoothing of this is going to be fairly simple to do. We just need to assign smoothing group biangles then one turbo smooth and then another one on top. The first one always will be just affecting smoothing groups and the one on top, everything generally. If we have too much curvature on one area we don't like, we just need to add extra subdivisions near the border so that it makes it sharper. Now we are going to put this in place, rotate it just following the reference. And now, after this one, we're going to be doing the other one. Just make sure we don't have much clipping. I know it's impossible to don't get any, but just try to make it in a way that feels solid and properly attached to the fit. Otherwise, always it will look lobby and sketchy and the overall piece will lose weight and realism, even though it is not fully realistic. But, you need to make aspects in your model that feel grounded and believable. Ischif a different result, we're going to do a different buckle now. I'm just changing the way I'm structuring the topology. And the reason for that is that I'm going to be I'm going to be just refining this buckle because the ones we placed before were created as an instance. So every change I do in this one will be applied on the other ones. So the reason for that is that I felt that the curve was not good enough. So I'm just restructuring the topology in a way that everything feels with a better smooth than before. So for that, I'm just changing The structure of the topology. I just want some borders to look more round. Okay, that looks much nicer. So now we're going to be cleaning up the strap we have under those buckles. Fairly simple process. We're going to be selecting you selecting one of the center loops. Let's use cop it here to decide. So one of the center loops and we're going to create on create plan from loop. We will get this result. And we're going to remove the bottom part and use the normalized spline modifier to simplify it a little bit and remove most of the points that we have. Now that this plane is a little bit cleaner, we need to play with the rectangle settings until we have a pretty nice looking strap very close to the reference we had before, and we can play with the angle options, thickness options, and get a clean plane with the same shape of the strap. Now that we have this base, we can actually go and select the edges, play with the rotation. Simplified it, so it is simpler for you to achieve the shape that you like. Important thing always consistency in the thickness, consistency in the shape. It is important for it to look realistic. So please make sure it doesn't have different measurements throughout the spl. Sorry, throughout the different polygons. So when you rotate, it is easy to change that to change the width. So make sure you keep it consistent. And And now we're just going to be extruding the border of the edge to create the loop around the buckle. So that we just need to sift click and drag, pretty simple. So now that we have that belt around, we're going to do the other side. That is looking quite nice. Let's create this new buckle. So for it, we're going to start off from a box. We're going to be doing an insert's turn it to editable poly scale down. We're going to do the, the insert to create that curve that shape, sorry. We do it like this and now we're going to remove the interior. So we want to get those in position to replicate the same shape from the reference and get rid of that. Just going back with the same messed up here, not removing that extra piece and just collapsing it, so I wanted to keep that in place. All right. So let's a cell modifier, like always. This time around, we will add another edit poly so that we can apply changes over the previous modifier. So that we can create this gap here and connect it. We're going to be doing, again, the smoothing based on smoothing groups. Let's play the smoothing groups to get the right shape, and some sof loops wherever we consider necessary. Okay. We're going to speed this up a little bit. We're just going to do the same thing some extra loops on the borders to achieve a more sharp result than work here having instanced the copy we applied on the shop. Now we're going to be copying the strap on the bottom, rotating and adjusting so that it goes well around the ankle. We can just go back to the base load polyly I would just remove one side and then just do symmetry. We're going to be first adjusting actually rather than just adding those subdivisions. First thing we want to do is just get everything in place, add maybe some subdivisions for the curvature and move the so that loops around the correct buckle. Okay. So I just duplicated the element selection so that I have the loop going around. And we can do this double loop. We want to keep those sort of together except for the end, which is going to add a good reading. But most of it, we want to keep it pretty stick together so that then when we work on the low poly we can just make it as one piece. We're going to duplicate once again one of the polygons to create not the backup but the clip. We're going to end that to the tip. Same for the other side. Now we connect those two and we have the lays. Let's just remove some loops and we will get a more rounder result. Va that is how we get the bell loops, basically extruding one of the polygons, duplicating and connect them then together. Now we're going to adjust a little bit this strap and then we can go and do the other side. It is always good to activate the preview of your modifiers so that you can see real time how it's looking with the shell and the smooth. Otherwise, it might change a lot. I just want to do now the metallic tip, so we're going to we're happy with the rotation of this. H now it is time to get this in place. Use small refinements here and there. Trying to avoid any clipping. For the same reason we're always talking about just trying to make this more grounded and believable. If you see clips everywhere it is just not going to sell itself. So try to avoid that as much as possible. Now we're going to select all the elements together and duplicate it. Put it sort of in the same place, and now we're going to connect both with this lace. So extruding a plane, creating a cell for it, and adjusting so all the thickness is consistent and the lace looks quite complex, complete. Let's just adjust the sides so that they have the same separation to the lace in both sides and same rotation. Let's model the tip, extruding a polygon and adding a al to it, scale it up a little bit. And those details on the shoe are done the same way throughout everything. So if you want rounder surfaces, don't add super loops, just leave bigger topology spaces. If you want to get something more sharp, just get loops closer to the surface. Same approach is going to go for this. We use the start from a box to create the the plate that will separate the fingers. Et's just try to create a similar volume. We are going to create that twist, that curvature that we see on the reference. So we add that subdivision and lift the tip at the super loops near to the edges so that when we smooth, we get this effect of having sharp edges on both sorry, on all of the sides. If we don't add those, the smoothing would occur in a different way. So that is basically the same logic for all the pieces. Okay, so the shoe is coming along nicely so far, apart from adjustments of this piece, we're going to be creating the connection here for Sorry, the connection of this loop that will go through the thumb on the next finger. And after that, we're going to add some more detail to the back part of the sole, which is going to be maybe the more difficult part of this shoe. But so far, the rest is quite easy. For this loop, we're just creating a spline with a cylindrical finish, and we're just going to adjust the points to flow in the direction we like. Once we have that imposition, we can just play with thickness and position of each of the points to get it in the exact shape we like. Now, let's make it Edit Poly once we're happy with the piece. And we're going to adjust the tips so that they open up a little bit, like we see on the reference. First, we're going to work on this border piece to make it just wider in one edge and just slowly fade into the tube shape then use the push modifier to create that sort of extrude. So now, having the edit poly on top allow us to add some super loops to create that rigid and defined effect under the turbo smooth modifier. That way we create a clean and crispy effect of having two tubes connected. Okay. So now that this is looking quite okay, we're going to jump onto the back so and we are going to be creating those details I told you about. So let's just leave this at here. So first thing, we want to create this sort of detail in here, not with split, but we're going to do it with Quad chamfer or you guys can do it with any separation or detailing method that you like. In this case, we're going with Quad chamfer because it offers this sort of easy way of approaching it, but you can do it with split as well. I will just work same way. The important thing here is keeping in mind that topology needs to look similar, no matter the tool that you use. So in the end, it is use creating a separation between both pieces or just increasing the subdivisions you have in those loops so that you can extrude towards the interior and create this effect of having a seam line. So let's just try to do it slightly different. Let's select these loops and see how it looks. In the end, we want a smooth result. So it might not be as convenient to use close it too close. We just want to play around and see how it could work depending on the selection. That looks interesting, but I'm just playing around. Sometimes this is sort of stuff that you need to redesign while you go. Sometimes we will look very nice and stuff will not look as good as you think based on the concept, so it is good to improvise. Sorry about the cat. I was a little bit decisive on which approach to take. I did a few tests to see what I like it the most. And in the end, I decided to go with this. So this is how topology should look. So having the same smoothing group for all that back part creates this round smooth when I use smooth based on polygroups. So we want this because feels somewhat rubbery or at least this is what I'm going for. And I'm going to be creating the caps that we can see on the reference, the two holes. So for that, I'm just going to do the bebo thing. Or extrude, whatever you guys prefer. But I think both could do the work just fine right here. Bevel gives you some more control, so that's what I'm going for. I'm just going to try on a lower sedition level. Play with the values until I'm happy with it. Like I said, it's good to have your modifiers on preview to see how it's behaving. But the topology pretty much has this look right now. Okay. Remember that depending on the software you're using, this method might change a little bit. Not all the softwares work with stack modifiers and smooth on top. Also, not all the smooths are based on normals and edges. So this approach is specific to three DMX, but topology can apply to any software, pay more attention to the topology rather than to the specific process of three DMX because that doesn't really will teach you much. Um so what you need to keep in mind is that the structure we're following for different areas. I'm having some issues to achieve here good result. That's why you see me trying different smoothing approaches. And that's why I was specifying that this doesn't really help much if we are working on other software because it's limits of three max. But so far, this looks okay. I think I'm going to keep pushing it rather than getting stuck in that part. There are some improvements I would like to do on the soil and some other areas, but for now, I think it's going to stay. And we're going to be getting this into Cibras already since most of the other pieces left are going to be easier to do in there. So sorry for the long chapter. This is going to be it for Chapter 19, and the black and red part of the shoe are going to be done in the next one in Zebras. So next thing you're going to be seeing is me bringing that from three max into Zebras and then detailing all of these pieces. So see you guys in Chapter 20. I 21. 20-Creating our final shoes Part2: Hello, everybody, and welcome to Chapter 20. After finishing up the cleanup on some part of the shoes, we are finally ready to jump onto zebras and get done the red part and the black part. We're going to be disabling the turbo smooth for all of these pieces because we will be subdividing them in zebras, so we just want to keep a certain level of subdivisions. This applies to all of the pieces we have worked on, so make sure you deactivate the turbo smooth, at least the one that smooth. Generally, everything, we still want to keep the one that affects by groups so that we can keep those super loops that this one creates and the structure is preserved. Same thing applies to the pads on the soil. We want to preserve some sort of subdivision. We do not want to preserve the whole thing. So adjust the levels of subdivision to what you consider appropriate to your model. We do not want to have excessive geometry. So make sure that it has some sort of sense. So not too high density, but high enough to preserve the shapes we created in three D Max. So we're going to be exporting that as an OBJ. Just keep those settings. They're good. Now we're going to be getting rid of the sketch part of the sets that we just model in The DMX, so that you can delete. And we will just be left with the areas that we still didn't model in The DMX. So we get or OJ imported. As you can see, it's looking a little bit low poly. But if we activate subdivisions here or subdivide with Control D, we will get the same result as we had before. So next task we're going to be doing is we are going to be splitting this into different groups. So I'm exporting the straps into one group. Now we're going to split those. Same thing for the salts. Same for the, I forgot this one. So I want to merge this one with the rest of the straps. I like so. We also are going to get rid of this And now, what we want to do is we want to group by angle so that we can have different selections and we can isolate the border to do an inflate like this, or we can modify it in a different way. This will be very useful in case we want to do some kind of border details or yeah, just refine those areas. For these ones are going to be doing the exact same thing, it is always good to keep them somewhat separated so that we have more control even though we might not really need it. We just keep splitting those so that we can work them separately, since one might require more subdivisions than the other, or we might just want to adjust topology on one of them. So we are going to be mirroring all of these subtols to have them in both feet. Remember, we need to keep them without subdivision levels so that we can do the mirror and wealth, and we will apply the subdivision levels later on. We can also adjust the subdivision, the dynamic subdivision so that it looks the same as we had with the turbo smooth, and we're going to be doing the same with all of the pieces to achieve this result. That is one reason to keep them separated because not all the pieces require the same amount. So it's easier to control whenever we have everything split. Okay. I must have this ready. All right. So fit or completely separated, completely mirrored. I would say we are ready to get it started. So far, Marvelous as is looking quite good on everything, but we are going to be doing pass on everything very similar to the one we are going to get started now. Which is going to be mostly fold detailing to make the borders of the stitchings more interesting and creating some main folds as well, but we are going to respect most of the work we have done in Marvelous. So first thing, like the stuff we did in Marvelous we might need is to make sure the mess is correctly distributed so that we can sculpt the proper detail. For that, we're going to be doing a serimes or at least trying to make sure it redistributes the mess in a more organized way like this. This will allow us to sculpt folds and everything cleaner because if the polygons are stretched, we might get weird results. We're going to do this symmetry before adding subdivision levels. Just making sure it looks good all around. Now we're going to start creating a layer so that all the detail that we scoped can be decreased in intensity or disabled in case we are not convinced. I really advise to always work on layers. And we're going to start creating first, like, main landmarks with dam standard. Just to create that contrast and the silhouett. Although we're going to be smoothing this pretty soon and just making everything look soft. The dam standard is a very strong tool. It helps to create pretty nice structure for foldings because how sharp it is. So we just want to create a basic idea, like a sketch of how the flow of the folds is going to look. It is always good to do the pinball structor. So basically, same on the pinball machines which every ramp aims down so that the ball can fold. So same thing for the folds. You can also use the rhomboid structor which basically is rhomboids on the sides, one on top of each other. And we actually have those sort of structures on some of the cloth we did in Marvelou so we will come back to that later. Right now I'm smoothing the main structure that I created to start to pre visualize where the secondary folds are going to be. At this point, because the process is going to be the same dam standard, and then smoothing and then some standard brush, this is going to be a little bit speed up, but you guys can pretty much see. I'm using the guides that I created with DAM standard, and now I'm just going over those same details with the standard brush and smoothing some of them. I'm going to go with a smaller standard brass near the borders to create some tensions where the clips are so that it feels like they are actually grabbing the sole, as well as creating some silhouette under the strap that connects between the fingers so that it feels like it's adding some pressure to the stew. A good idea for the wrinkles in the borders if you want to keep some sort of structure. It is to throw when you see empty spaces, just throw a big brushstroke. And if you see that it actually connects randomly, but connects good with the fall that you previously had, then it is a good idea to continue that fold and detail around it. If you see that it just breaks the flow of the folds, then just not add it. And then when you are kind of happy with the borders, what I recommend is, do what I'm doing right now, which is going to going to the center of the shoe, also add a little bit more on the corners, but not just the border, but the corners and try to create different directions. So you see that from that corner on the left, they are going all down, but I'm trying to greet them facing up on the upper segment. So having different directions based on the corner you're working on also helps make it more believable. And try to create really small and really thin ones so that they read nice in contrast with the main and big ones. The idea is to create these soft and patty filling. So obviously, as well, try to get more fold bunching on the area that usually the feet is folding. And if you also follow the reference a little bit, like we are doing, well, obviously, it's going to end up resulting in a cooler look. You'll see that now some of the folds are looking good but still a little bit blobby or not clean enough. So now it's when I go back with DM stander and just try to bring back some of that detail and smooth This also brings up some better reading to them. Just going to reinforce this so that it looks a little bit more present. All right. So this is about to be ready. Yeah, just trying the last steps of cleanup having looking good. I would say yes. Now let's do the symmetry. They look pretty cool. I create a new layer to work on the borders. Like I said before, having the pull groups biangles is pretty useful because now we can actually come here and do this masking for lazy. We use mask at the border. Inverted the selection and then inflate. Now, with the damp standard, we are going to be sculpting damp standard activating the lazy mouse. We're going to be sculpting the border around Well, like you guys know, lazy mouse makes everything fairly easier to keep the lines straight and less shaky to make sure enable it in a stroke, lazy mouse and increase the step quite enough so that you have a centimeter or so in a screen step so that yeah, you keep curve soft like this. And now by playing with the layer. We can actually get more or less intensity on this border that we created. We're going to refine a little bit interior just so that when seen from the sides, you have some detail there, just on the upper part really. Now we're going to get working on the feed itself. We're going to try making it connect better with the soil and add some more details so that they feel more correct. Okay, adjusting the sole so that the contact with the ulcer so that it all feels tight and well assembled. And it doesn't look like I said, while working on MX sketchy and random. We want everything to feel on point. So small adjustments here and there so that it fits well together with everything. This just using mostly Move tool. But we're going to start adding some details like defining a bit more separation between the fingers and also adding some extra details like faults, which are going to be mostly on contact areas. So for example, we're going to have more faults coming out from the straps area, from the sole ahe's trying to make also the same fluffy and soft effect that has the front part of the shoe, trying to bring that also on the sole. Now creating some contact folds from the center pad. I'm just trying to create those tension within the finger so that it feels more like a soft cloth rather than a rigid sue. I'm just trying to create those tension folds coming out the straps, especially where the shoe would normally flex. So yeah, near the ankle, near the back part. H. And I just strength to bring that border just slightly so that it feels like it has been pulled in the past and it flexes a little bit. Now, just trying to get some more work on the underp, create that tension coming out from the interior and re accentuate those side folds, especially created from the feet, pressing against the soles. Just create that wrinkly sides. Just adding some mass right as a border of the sole will create the effect that there is actually some weight pressing outside. Doing check to see that everything worked out good. Now we're going to do the same as we did with the front part, we're going to mask a loop. And we are going to use flat a little bit. Used to create that extra thickness that will improve the reading. And now we're going to reinforce that with the dam standard just like before. Going carefully around it, making sure that everything looks with a consistent width. We don't want to break. We don't want to break the effect of being properly manufactured just by having a weekly thickness in the border. And we're going to do just the same on the straps. I want to do the X connection here. So trying to get a straight line so that it doesn't look wobbly. And getting this one right. Ns to be asymmetrical, so that's why I went back for a second. Just going to end up detailing the straps. But the zoos are pretty much done. So you can see having the selection, the trick to select some loops and then inflate helps out a lot with borders. For most of the detailing has been all the time, either damp standard or standard brass together with a smooth. And that is pretty much it. Try to keep the folds near the contact areas, the small ones, like tension folds. Those are usually thin and um and longer, I would say, or shorter depending on the area of the shoe. And for the main folds, deeper areas, sorry, deeper folds, bigger brass strokes, don't go as thin and sub tile with folds. I'm just trying to transfer those folds and details to the straps as well so that they don't feel as rigid and they feel like proper clothes. But apart from that, I would say the sus are pretty much done. So we're going to be jumping next into the pants. So I'll let you guys see the end of the policing of the Seuss T laps and we'll see you guys on Chapter 21. A 22. 21-Polishing our pants: Hello, everybody. Welcome to Chapter 21. We're going to continue to detail or hi poly. In this particular chapter, we're going to be doing the pants. So for that, we're going to keep using the same methods as before. We're going to smooth the noisy areas we don't like from the simulation. Like this one right here, we want to make this side heap uh, prosthetic or shape feel smooth. So that's why we're using a little bit of clay build up and smooth to get it very nice and round and try to get all the bumpy and blobby shapes out of it. And then once we have that cleanup, we're going to start adding some minor folds on the sides. Like you can see, I'm getting rid of some of the more big ones and trying to let them flow on the back of the knee, but not in the in the quads area or the back of the leg. So we're going to keep smoothing some of those folds and then trying to refine the one that actually go well with the character. So like we mentioned a few chapters ago, trying to give proper rest areas for the character. So avoiding having faults everywhere, it is a good idea. And now just trying to make those back knee folds feeling a little bit more horizontal and clean. So when we animate the character, we don't have any kind of issue. During these time laps, you are going to watch me first do this cleanup process. And once that cleanup is ready, I will just start adding secondary folds near the seal lines like I did on the shoes previously, and then just add some more main folds, like the ones I'm adding right now if I feel that that is going to add up to the simulation. But like every step on the process is going to be a trial and error thing, and you'll see me just going back and forth on some of those folds like I'm doing right now. One thing to notice is that because of the sides of the pans are from a different preset of cloth, we want to use those hints that Marvelous proportioned us and we want to follow them to create this kind of different vibe and feel for the cloth. So make sure you use any A fold that you can reuse or give information about how the fabric behaves, use it to sculpt the other ones in a similar way. So I won't bother much. From now on, you guys can keep watching approaching this. And if I feel that there is any comment which is worth noticing, I will just drop it while we go over the time laps. It's not going to be just silent all the time because I feel there is some important things to tell in here. So just pay attention to it. Okay, so quick stop in here in just a second because it's worth mentioning how we're going to be approaching the cables on the side panels. We're going to be using the curve tube brush from zebras. We're going to first do like one half of a rhomboid with it. Just try to make the tube slightly more thick than you would like to so that when we smooth it, it gets onto the right thickness, and we're going to keep doing half and half, and then we're going to get them crossed by using move. Make sure you move topological so that only one of them move, and we can keep both of them merged into the same up tool use adjust it until we achieve something that doesn't clip too much and actually feels like they are crossing each other. Just make them feel like try to create a smooth curve so that it doesn't feel wobbly and then duplicate it with control, click and drag, and then mask half of it and conform the rest of the curve the tube, sorry, to fit the pattern we created previously. We're not going to tackle the tips now, but we will be placing them under the pant and we will be doing some bump there in the pan so it feels like it's actually going under. So something like this is pretty good. So we're going to speed a little bit back in just a second. And we're going to be doing the details, like I mentioned on the sides, adjusting this so that it feels tight and realistic when the sculpting folds around it, so it feels like it's creating some pressure and tension around it. And now, this is the kind of details I was talking about, used with the standard brush. Do a few brush strokes around, so it feels like the cable is going under the pant, and we don't really need to show the end of the cord that you try to make us at the very start at the very end of the cords, try to add some volume, so it feels a little bit more like a grounded design and more realistic. So that is pretty much to yeah, how to create the cables, pretty simple. And now we're going to try to reinforce the pressure effect that it's creating around them. So we're going to go with the move tool and pulling a little bit around the cord, so it feels like the flesh or the cloth is actually pushing outwards while the cables are pressing against it. And once we have that feeling reinforced a little bit we are going to be sculpting some minor falls to increase the tension effect. Okay, so we're going to tackle the sips on the lower pants now. First thing we want to achieve is to get these strips of cloth well aligned with the rest of the pants to avoid any gaps and make everything tight seal. So just go with the move and just bit by bit. We're going to get rid of the subdivision level so that we can actually use a curve rush, which is going to be the super one. This one right here, yes. And now we just need to go over the strap and click and drag until we achieve The result we like. Try to get on a camera that it is sort of flat to the plane. Don't get it angled because based on the camera, you might also see different curves and it will affect how you place the Zibline. So just continue the curve till the end. We can adjust the size, but adjusting size on the bar and then clicking again on the curve. And once we have it, su Let me just redo the curve. I was really liking how straight it was looking. This alignment looks pretty nice. Let's just finish until here. For adjusting the position, it is better to do it with a curve brass, because if we do it with a move tool later on, we will create deformations and stretches on the zipline. So make sure you adjust it now and leave the minor adjustments for later on. Just making sure it works on both sides. Both angles, sorry, from the back and the front. I want to take my time on this. Okay. So now we're going to be splitting it so that we can do a new curve in here on the other side. We cannot mirror it because the simulation was asymmetrical, so we need to work on this one as well. We're going to keep on speed mode because it is going to be the same as the other one. But as you can see, what we are pretty much doing is just keep adjusting the position with the curve brush until we have everything looking solid, straight like always, ensuring us the thickness of the sip line is the same throughout the whole thing. So now it is time to get to individual adjustments. So both ip lines are splitted, and now we are going to subdivide it, and but first, we're going to do a crease, so it doesn't subdivide too much and feels blobby. So crease, then subdivide and any manual adjustments you can do already by using the MOTol. We're going to mask that loop that goes through the center and do an inflate negative one so that we have the feeling of having the sib line attached to something. It is just a very small detail, barely going to be visible, to be honest. And if we bring that into and when we bring that into the low poly, it is not even going to be seen, but it is always a nice touch to add, and I don't know, extra details are never too much. We're going to scale up the zipper itself a little bit. So it has the same width as the strap on the back and so that they are more visible from far away. And now that those are ready, we're going to get back on the rest of the sculpting on the pants. We're going to try and get this piece right here, a small detail from the reference. We mask those polygons and then do extract. And now we're just going to keep adjusting it until we have somewhat similar to the reference. Remember to add those dam standard and small folds so that it feels like it's stitch to the pant. And now we're going to do same process as we did on the shoe, masking all the borders, going to do a small inflate. So it feels like a reinforced border, and then we're going to be going all the way in another layer with them standard, with the lazy mouse activated. Remember, like 1 centimeter or so so that we don't have that shakiness on the brush. We're going to go all around, detailing a little bit more with them standard. So that we can achieve that clean look and it's going to feel very nice on the borders. We're also going to be detailing that a little bit more later on, adding small wrinkles and some minor folds that make it feel like the fold actually creating some tension on the fabric. And now we're just going into detail every pocket and every sew that we have on the pant. Oh now to this point, as you can see, I'm getting started with the tight tension folds on every pattern. So we're going to go analyzing which patterns are going to recur from this. Just putting everything in place on the IP area before jumping into this. Because this is a connection piece, we are going to go back and forth a lot on this because once we get started adjusting the shirt, we might need to move this back again, so it is not the only time we're going to get working on this. Minor adjustments here and there on the shirt, trying to get the folds to lay in a more realistic way, feeling more heavy, not as floaty as they can come from Marvelous. So giving them a little bit of gravity with a move tool, smoothing out some of them, like you can see on the chest. Remember, it is good to keep a good balance from rest areas to detailed areas and also making the folds rest on top of the other cloth pieces. So this one right here, I want to keep a straight line over the pant and the one on the front, I want to rest on top of the tarp. So those are small adjustments we're going to keep doing. So you can see if we go back and forth, we will be able to perceive the changes a little bit better and use overall cleaning up those folds that feel a little bit wobbly or noisy from Marvelous. So reinforce them with standard and dump standard. If you want to reduce the depth of them, just fill them up with clay buildup and then smooth all of these previous steps to make it look more consistent. As you can see, even on the speed up version, the changes are not major. At this point, everything is quite subtle. If we do a good marvelous designer work, like we did, most of the work is already done. We just want to give that extra flavor by policing those areas, but really the main structure is already created. So I'm just trying to to see how those folds can work better, as you can see, I'm just working on the base that came from Marvelous Designer right here and not really creating any faults by my own. Anything that I create is just based on the previous structure. I I I likes Okay, so at this point, most of the tarp and pans are detail. As you can see, there is not much additions fold wise. We have used polys, a few of them and used added very subtle ones wherever we consider necessary. We're just creating these last few steps like creating heel here, this belt loop going around, like the level of the tarp. So for it, as you could see, fairly simple. We started off from a box, removed the sides and then use the panel loops on it for a last step, detailing with them standard, inflating the borders, refining those, and creating the effect of being soft tissue. Now we're going to add some minor ones around the border of the tarp to add the same effect of being sealed to the underlayer and being a little bit soft rather than a rigid piece of plastic. In this case, it's going to be more like a soft fabric. So we're going to keep doing this step until the end of the chapter. Next chapter is going to be detailing the shirt, pretty much same process, and it's going to be like changing main folds with MOV tool and smooth, which we did a little bit of that on this chapter, and then just adding minor secondary folds with standard dam standard and yeah, just inflating some borders and policing up the whole piece. So that's going to be it for Chapter 21. See you guys on Chapter 22. 23. 22-Polishing our top: Hello, everybody, and welcome to Chapter 22. We're going to proceed, as we said, with the shirt, and we're going to continue doing pretty much the same process. So we're going to really get this engraved on your workflow. So we're going to first clean up all those folds we brought from Marvelous Signer. Both from using smooth tool, as well as move as well to get the proper curve. Like it needs to look smooth, not only geometry wise, but also the curve needs to flow correctly. We're also going to be adjusting the straps we created in the blockout to the new proportions of the shirt, and then pretty much as before, we are going to start adding some volume, adjusting the main folds, and then detailing borders and small wrinkles. As you can see, we're starting to get a pretty cool, solid look. And once we have all the clothes finished, it's going to look pretty nice. You can see everything I'm doing right now. It is making sure the curves of the cloth are good, the shirt, sorry. Now, I'm adding the usual border detail, which really pops up the silhouette of every pattern and makes it more readable. It is not a very noticeable thing, but it really brings better reading for the simulation. So now let's start adding layers and creating those small details and folds. Let's just pop this up a little bit more with inflate. And let's get it going. We're going to refine a little bit the few borders, like we did before to reinforce the reading and make it feel like we have some sewing stitching around. Usual setup with dam standard and lazy mouse around a centimeter or two of lazy step. Just trying to make sure that width is consistent throughout the whole border. Making it continuous with the rest of the patterns. Yeah, we pretty much have this. We need a few more Okay. Now let's get it running with those tension folds around the borders. We don't want to overdo the intensity on the chest because it has quite a lot of tension there. So if we do big deep folds, they're going to look very fake and blobby. Use small and subtle ones. Just trying to make them flow from the border we defined on the chest to the breast, sorry. No trying to define without really breaking the initial folded structure that we have. Since the belly area is quite baggy, we cannot really add much in here apart from mini folds on the border. So just trying to create something that flows with that big fault we have down here and flows along the chest. Okay. Those back falls usually add a lot of flavor to every character. So it is important to create something that feels with good gravity and at the same time, fake that tension from both patterns connected in that middle area. That usually looks cool and adds a nice touch to it. Not too hard to use some subtle folds and some that follow the direction of the straps and the tension created by the secondary elements in the character. Since at this point, this is going to be pretty much same as before. Like on the previous chapter, I will speed this up, and if there is any important note, I will use comment about it. But for now, just enjoy the time lapse. Okay. So now that the shirt is mostly done, we just have some small details there to polish. We are going to be jumping into the neck section. So for the neck we first are going to create with curve ras, the laces. Same way we did on the leg. Remember to allocate, sorry, to locate and adjust the curve with the curve tool before just splitting it into different sub tool. That way, we avoid having deformation. And now we're going to use the final adjustments with the MV tool. We're going to grad the caps, starting off from a cylinder, masking the middle loop and just using negative inflate the same way we create most of our most of our ridges in the borders, and now just create thickness with panel loops. Pretty simple, but looks detail. So it is a nice nice dip. Add some variety on the sculpt in the end of the curd. Just to make it more mixed with the cap. And now we're going to create the center clip that is going to hold the elastic for the hoodie. First, we're going to create this gap by isolating those polygons and deleting isolated. Now we are duplicating the initial object and adding a chamfer with C modeler, as well as some super loops around the borders to keep that smoothing in position and then a panel loops for the centerpiece. Pretty similar process to the ones we have been using so far in blockout and high poli detailing. Play with the panel loops and with the position of those super loops in the other two pieces to achieve the desired smoothing when subdividing. Now we just need to put this in place on both places, actually, front and the back. Et's get same detail on the borders as we had on the pants and other pieces. Mask the border and then inflate and let's get this neck area, back neck area a little bit more interesting because right now it's a little bit simple. I'm just smoothing out some of the areas before I start working on this. I just getting started on the full detailing for the hoodie. In here, faults are a little bit more tricky, as you can see, I'm not really getting as natural faults as before, but it is one of the areas with less information from the Marvelous simulation. So I kind of have to figure out how they would work here. And it's also a flat surface, so it is not as easy to really make them feel natural, but we can add a few of them, and hopefully they will work together with the rest of the character. We don't need to have same amount of quality and everything, so it is okay. On the backside, something pretty similar. We're going to try to get something natural going on here. Trying to have this pinball structor and also the rhomboid on the side. Hopefully, we can make this work nicely. This point, as you can see, I'm just going around, not really focusing on any specific area, mostly because I was not very happy with how the folds on the front and the back were coming out. And when you get stuck on something, sometimes, like, you know, it's better to jump into different sections, try to get some work done in there, and hopefully inspiration will come for the other areas or by improving the rest, we will be able to easily see a solution for the areas that we were not really seeing before. So just jumping on the other segments, inflating the borders, making it feel consistent with the quality we were doing on the other pieces, just doing general pass of cleanup and detailing. Whenever you feel like a border, it is too thin, in comparison to the rest, you can do like I just did, going over it with inflate, a big brush, and a soft intensity so that the smooth result feels more natural. Now we are just going to put this in place and create the elastic. It's a little bit tricky because we don't really have a good angle to create it. So just place it wherever and then adjust until we have a good result. I really love when doing characters, they kind of feel to blocky or maybe not like refined, I would say. Honestly, I don't know how to describe that feeling. But when you get to the point of adding these small laces and super thin details, it is when I feel that it really comes together because you have the brute force of solid pieces. And yeah, everything feels super solid. And now when you add these sleek and delicate pieces, it is when it really looks amazing to me. So to create the nut, as you see, pretty simple trick is to create two tortses or two doughnuts or yeah, cross them with rotation, and then doing an inflate so they intersect each other and just put them close to the end of the elastic and it sells pretty good without having to do much work. Now let's just get this border done and hopefully it will work good as a piece because it is getting closer to me having to go back into those folds that I don't want to go into. So hopefully, it's going to work good already and we can skip those. Okay, so use last bid on the interior. So the reading is good when we rotate the camera. If you're having trouble, by the way, when painting with any of the brushes in thin areas like this one, my advice is to either mask the other side if you have it grouped by polygroups or in case you are not able to mask the other side because everything is the same polygroup and it is hard to mask manually. I would recommend to go to deactivate the backface masking. I think that's in the brush menu. And that way, you will not be affecting the back face of the mess you are working on. New layer and getting back into last fixes. We're going to create deep border for the hoodie. This way, it will feel like the elastic we created actually goes through it and we have this segmentation. And now with this, we can use it to fake this distension that it will create. We can add extra minifols if we consider it necessary, although it's looking very nice and I'm not sure if overdetailing is going to be such a good idea, but we could. Okay. So now let's just hide this detailed interior part. As you can see the reason I hide those pieces and hiding these ones, it is because it affects. If the bruss goes really close, it actually affects how the brus behaves and allows me to see it better. So quick hide, and then we can bring that back once we are done. Let's just get those other borders on the other patterns of the hoodie. As you can see, actually, I didn't mention this before, but when working with them standard, I prefer to work with a pretty soft intensity. And if I do trace and I want more intensity, maybe you can go over it again manually, which will give it a more organic feel, or if you just want to replicate the exact same trace without having to go over it manually, press one without moving the camera and one in zebras if you guys don't know will actually repeat your last step. Okay, so this is going to be it for this chapter. On next chapter, we are going to get working on the arm, the gloves, and some other areas from Marvelous Simulation. All right, so see you guys on Chapter 23. 24. 23-Polishing our gloves: Hello, everybody, and welcome to Chapter 23. As we have completed the hoodie, the shirt, the pants, and the shoes, we're going to be jumping right now on the gloves, Cantlets or however you want to call it. First thing, we're going to make sure we have the proportions right. So anything that we want to add to the glove as a general shape or change the size, we should do it now before detailing. So I'm just going to try duplicating them and see which one works better. The bigger version or the lower version because I was not sure that the hands were the right size. So we're going to go with slightly bigger. I think it works better with the design before the hands were too tiny. So having that ready, we're going to get started directly adding folds. And we're going to start probably by the fingers, which is more time consuming area. And also, we have more interesting fills already going on the rest of the glove. So I feel that it is going to bring everything together better if we start off from the fingers. So let's mask the borders like always at that inflate. And just like that, we already have this pretty nice feel over all the glove. So let's just jump into the fingers. Create new layer like we have done in the rest of the pieces and start smoothing and refining the current existing folds. And very quickly after we have that, we're going to start adding with them standard some of those initial landmarks for holic. So let's just quickly get done with cleanup. There's not much to do really, so it is going to go fairly quick. And let's just get the camera on an easy spot to start adding wrinkles. Let's define more the folding areas. This already has a quite nice feeling just by doing that, and now let's construct the folds around them. So let's use them standard in negative value so that we have actually a positive volume because by default, is negative. Let's just keep adding those structural folds to keep some sort of structure for those, as you can see, we are doing horizontal line for the fold, and then rhomboid area aiming towards the main fold. We don't need to do the full rhomboids on top and bottom. We just need to do maybe one or half of it. And basically, try to keep more folds on the area that is going to be more visible or more readable. And then with the standard brass, we're going to, like, circle those main folds, put some info around. Same thing on the fingers. The logic is basically if you would close the fingers, there will be more excess of fabric near your pum and less fabric on your knuckles. So we need to create that fold that will be created naturally. And also on the interior of the fingers on the folding areas. So we're going to keep doing this, as you can see right now. They're not looking very nice. They are still a little bit whip, I would say. We need to clean those up, make them look more crisp and nice, but we're just creating the base. If you get stuck with those, you can jump to other areas, start adding more details somewhere else. However you feel like. But it is good to rest the eyesight every once in a while so you don't get used to your current sculpt because sometimes cannot look as good as you think, and it's good to just reset your eyesight a little bit. So let's jump into this section. We're going to do the border, which is mostly done. So we just have to go with the damp standard and lazy mouse to end up to polish it. That already makes it feel a little bit more nice. Let's put some inflate on the border on the areas that are too thin. Let's get on the palm torso, and let's also refine those borders. This actually is a step I love to do on every simulation that I do, masking the borders, inflating and then defining because it is super quick to do, doesn't take any time, makes everything feel super nice, super readable, and really I don't know, it makes it look better to me to my opinion. So it is something that I usually do for everything and recommend you guys to also try. Also, for padding is amazing, as you can see, everything feels so puffy and so nice. But since that's done already, let's get back to wrinkles. Let's do, for example, here on the thumb a little bit as well. So you can see same structor that I applied before to the middle finger. I'm trying to do the same for the rest. So excess of fabric on the folding areas, negative spaces in the connection so that the fold area is more accentuated. And same here. If we have a mean fold with tension, let's create a negative space right next to it, so it reads more nicely. Let's just jump into the other hand and try to get some of those details as well. As a general note for any sculpt that you do, it is good to progress in a linear progressive way we could call it. So rather than just grabbing one piece and doing super fine detailing on everything, which we are doing right now. Don't get me wrong, but this is a tutorial. This is not for work. But in productions, a lot of things can happen. We can run out of time. We need to stop that character for certain reasons. So it is good to approach it in a different way. It is good to do it the way we're doing the gloves right now. So jump into one piece, and then just police every other piece in the character to stage one. Let's call it that way, which is basic detail for reading. Then stage two on every piece of the character, then stage three will be final cleanup and detailing. This way, if you need to stop, you'll have your character detailed with the same quality everywhere rather than just having a piece completely finished and looking amazing and the rest used very roughly. So yeah, I don't know, but feels like the correct way to approach things to me. That's why now on the gloves, we are doing it this way. We're going to do this buckle or thing we have on the interior part of the palm next to the wrist. Let's just put this block out. We just did with clip curve and plane. And whenever we have it in position, let's do project, and we will get the fold from the underlying geometry. We can increase subdivisions and do panel loops. And just like that, we can get a plane looking pretty similar to what we have under. Let's just do the border so that it feels as well, properly sealed to the gloves, bla, we have it. Let's do some foldings so that it feels more natural and jump into a different thing. This part of the glove has some big faults, but it's true that there is also an area which is quite empty, and we would like to have some of a general fill for all of it. I'm going to sculpt here some main folds, trying to see how the other ones are behaving going to probably reduce them a little bit because they were too deep. Going to try and see if I get something interesting. You see me going back and forth with the standard and dam standard brush seeing how the result is looking. You go to spin around here for a little bit until I find something that really convinced me. Since I don't see much progress, I just move to a different part and keep trying to have progressive continuous progression. Sorry. So I'm just trying to do same thing as we did on the shoes, creating pressure folds near contact surfaces, which is how cloth normally works, especially thick cloth like this one here or the one on the shoe. Trying to create those tension folds between the thumb and the exterior of the palm. Playing with the density to see if tight clothe feels better or e very deep creases. And every time I get stuck with an area, you see me jumping into another area and like I said, working progressively. So now I'm getting some details on the fingers. Meanwhile, I leave the other areas resting, let's say, whenever I have more details on the fingers, maybe when I see those areas, I will have a better idea of how to approach them. So here you can see, again, the structa I create for the fingers, straight cut, and then rhomboid shapes on the top or the bottom of the middle cut. Now, I try to smooth them so that they feel in the same line as the rest of the folds. Not so far. So good. Well, let's get into this section. Same thing as the main part of this glove. Folds feel a little bit blobby, so I'm just going to smooth them out and try to create a more rigid and puffy surface. I'm going to create my own landmarks with them standard, same as we did on the shoe. Trying to create either some negative folds by using the standard brush on a big scale and following any reference that can be useful for me. So if you are stuck with the kind of folds you are doing, you want to get some new results. You can look for references of Candlets and gloves. This case, I'm just working from memory. And again, whenever I get stuck with one piece, I will just transition into another one and so like let's just get on the lass. And here, the process is going to be fairly quick but good looking, I would say. So we're going to go ahead and mask the borders like usual inflate, define a few folds so it feels like a soft piece of cloth. And now once we're done with that, we're going to be sculpting the border lines. For that, we can isolate some loops. The ones that we like as a thickness loops, and then negative inflate. Pretty automatic process, but it still results very nicely. Honestly, I love when I have to do pieces like this because it's so quick and it still looks so nice. Now let's use this border for the gauntlet. And this one in the palm. This is slowly, like I said, we are approaching everything in a general way and by adding details here and there, changing from one pattern to another is helping me see the overall image better rather than just detailing one part completely. Now, let's do this border with a bigger dam standard. If you see that the roundness of a border is more soft round and less sharp, then we should adapt or brush for it. So basically, let's see intensity, set intensity, sorry, and bigger size. That will create a more soft curve when we do the brush stroke and the gradient and fallow will also be bigger. Gloves are looking pretty okay. Let's get some work done into this piece and see how the rest of the arm starts to look with the gloves. And if we feel like so, we will come back and detail a little bit more. But for now, I feel that this is quite good progress. Let's start as usual. Let's detail the borders. Okay. So we might actually add one more layer to add some scoped wrinkles. This must be really soft and minimal but long because this is more like spandex or something like this kind of fabric. So we do not want super defaults, like the ones we have hidden under the glove. We're just going to keep it pretty light. Uh surface folds, let's say. You can see the big ones I just created and basically using them to create some sort of memory of those folds, but I'm later on smoothing them almost completely. Straying out different structures for folds. And use the residue from the previous one I sculpted already are giving some flavor to it and helping imagine how the rest of the folds are going to go. So some of them are mistake faults where you just do them and use from what you remove from them and you leave, they will already help you to imagine how the rest are going to flow. This is actually a common way of u detailing almost anything, like if you're doing skin or cloth or damage on any metal or rock. If you apply intentional detail on what you want to do, like faults or damages or whatever, but you just do it randomly and then remove it. Maybe it'll leave some trace that will help you picture how to do a better job for the next round, let's say. So that's why working with layers is very useful. You could add just a bunch of faults, the lower the intensity and then sculpt final faults on top of those. Now I'm just getting those super thin folds near the elbow so that you can have those memory folding near the interior of the elbow. I'm also going back to the glove because now seeing everything as a whole has helped me to see that this fold could work better in that way. That's why it is so important to jump back and forth between different pieces. Just filling those areas which were not working as nice and also making sure to activate and deactivate the layer, which shows the work you have done. It's quite important to see if what we are working towards, it is actually a good idea or use a bad idea. Now, let's just get on this pocket thing. Like, always, let's start with the Brothers, which is the easiest first step to do and helps us see what should come next. It's going to do it with the loop inflation. And making sure everything sits tight and more organically from pattern to another because sometimes Marvelous leaves these gaps because of the thickness simulation simulation thickness. Sorry. Just closing every possible gap that I see and making sure that the strap pops up properly. Now, let's just keep adding some more details to this one. The reason you see me polygrouping and hiding the rest is because right now it says too many subdivisions and we're going to be using the subdivisions for this. It is going to be a lot easier to work with lower subdivisions. We can create better fold when we subdivide. If we had too many, it will probably look like pinchy or something. So always try to reduce that and then when we panel loop it, it will look more natural. Make sure you set the value to positive or negative depending on which direction you rotate it. And the areas that got deformed because we were moving things, make sure you inflate them a little bit, so we get a natural sorry, a consistent thickness. Now, making those closer and closer. And now I'm just going to do the stitching, which looks quite nice and makes everything feel more realistic. Now, let's just get the borders inflated. Stitching on the proper place. And the same as the elastics on the hoodie, this kind of strap and loose detail hanging from some other bigger and chunky area is what I think brings nice detail and reading to the character. So it is good to balance the design always small things like that here and there. All right. So I would say arm is pretty cool already. Let's jump into the cape. Maybe we would come back to some areas, maybe not depending on how everything comes together. But like I said, it is good to jump from here to there. Cape is going to be super quick process. We just need to add minor faults and the borders. So we're just going to redefine the areas that got a little bit lost on the simulation. Dam standard. In this case, the brass is going to be smaller and with more intensity because we want a deeper crease and not affecting as much the curvature of the rest of the areas. Throwing the interior now very quickly because this is not going to be seen as much. And there we go. Okay, so now let's create a new layer. Let's do the border thing, so inflate a little bit. And let's sculpt some minor falls near the border to create cross tension. So if the cap is going down, vertically, we want some horizontal action. Okay. So let's just write this up by creating these tiny folds on some areas. We're going to try starting up here. Just to create different textures inside the high poly. Not sure if it's going to look right. Let's just try. No. So we can get them out and try different size. But cape doesn't really require much work. So we're going to jump quickly to the pockets to the pouches on the left. We are going to be detailing them just a little bit, bringing some patterns together. And then on the next chapter, we'll be covering decoration of the straps, the buckles on those pockets and use some pieces in three D max. So we are going to jump out of zebras in Chapter 24, and we will be covering some other hard to face pieces. Okay. So for these pouches, we want to get them isolated so that we can work better. We're going to do these panels right here. So mess them, get them simple. Weird subdivisions. And now we want to add with C modeler, the super loops on every coronary so that when we panel loop this and smooth it, it's going to be like a rigid plate. We want to move those things that are clipping from the simulation. And basically did same processes with it on the other pieces like refined borders. Weld everything together and make when we have excess of cloth, sorry, excess of folds like here, just make them a little bit flatter. This feels like throwing back some details, but we want to bring those bullins, so we need to smooth those folds, get the bulling shape, so we're going to select this brush which is going to allow us to insert this geometry. We're going to put it in position, scale it, and now we're going to set the bullion option to the substract one, which is the second one on the Subtool menu, and we are going to activate live bullion. So first, we're going to just the proportion, so it looks like in the reference, we're going to place the other one in position. I think about there is right. Let's just get the other three in place. And actually, I think we are just not going to go with Willian. I'm liking how plates look floating here, so they are going to stay like this. Let's just create a new layer for the flap and add some detail around the pin, the cross pin so that it feels like it is actually pinned. They're making some pressure. So let's just go with the standard brush and the move brush, and we will get some nice pressure effect. Apart from that, we need to fix some of the clipping here on the borders with most topological because from the simulation, they are intersecting. So just make sure you make that nice and tidy as well as the corners if they look any blobby. And we're going to create this other plate, which is going to be the buckle for the pouches that strap you see on the center. So we're going to start off from a plane, put it in position, and just always scale it to make it long and straight. Use mask to create the loop going around. Just do it here, and then we can stretch it. No worries about that. Once you have it in position, let's just do the panel loop thing. Make it closer so that it actually feels like they are properly looping. Now, let's get this in position. Now, let's adjust the loop so that it actually brases the buckle and duplicate it. So the boohes are looking already quite solid, with a few adjustments and the plate and strap already looks pretty nice. Let's do the usual border inflation and detail, which will make the strap look a little bit more believable and also like quick stitching and possibly some folds. Let's create the internal strap, which is slightly different. So let's just group it differently, extract it and just make it a pan loop again. A few more border work in some of the other areas. As you guys can see, this is just, like, a lot of many times. Like, all the time, we are going around this process. So that's why it's good to in Marvelous create those internal lines to create the pre established measurements for these borders that we will be doing here. Of course, you could just ignore the internal lines in Marvelous and do it here directly because we would have the loops. But still save us some work makes the process quicker and looks good. So I think it's worth the time doing it in Marvelous. Okay. Just a few more steps in this. We're going to be jumping into three D max. We're going to be refining the borders for everything. So the flap looks same as the rest of the patterns, a little bit more presentable. Like so. Oh. Okay. So now, actually, the only areas that don't look to the same amount of level is the belt that is holding the pouches. So that is what we're going to be doing in the next chapter. I think we're going to just add a few volumes here, so displays feel integrated. Super subtelflls on the pouches on the flap so that we have this final touch, but this is going to be it. So next chapter, we are covering creation of the straps and buckles for the loops, sorry, for the belts. So see you guys on Chapter 24. 25. 24-Creating Hard Surface Elements Part1: Hello, everybody, and welcome to Chapter 24. So we're going to continue creating or straps on buckles in three Max in a pretty similar way to what we did with the shoes previously. So we are going to get rid of some of these meshes since we don't need such a heavy file here, and we will just need a template of what we're going to be creating. So we're going to be starting off from the previously created ones we had from Zebras. We're just going to be doing a cleanup since we created them with preciple geometry and zebras, we can sort of reduce this, but we're going to be like you see, adding a few more loops, cutting somewhere, and doing the loop around by extruding certain parts of the geometry. We're also going to be creating the buckles and the process as well will be very similar to the ones we created previously for the shoes. So we're going to get this detached. Like I said, since the geometry we created in zebras is quite okay to get it started from, we're going to be able to reuse this. So first of all, we're going to be selling this at a turbo smooth and now we're going to do some cleanup over the base one. So we're going to come here and try to do those loops you see around. So we are going to cut in the middle and make it loop around the belt, the buccal, sorry. So we remove those superloops. We're going to split that one and move it through the edge. Just add enough subdivisions, so we can loop it around like the real thing. Now, with the previous the Tur smooth, we're going to be adjusting it so that we get the proper loop effect on both sides. And we're going to be touching this because we're going to be creating that right now so that we can do the belt accordingly to the final backup. So we're going to be creating spline with a rectangle structure. Sorry, then add the editable spline modifier on top so that we can adjust spline properly like this and add some extra points. We're going to use the symmetry modifiers that we get those changes in both sides. We're going to trick the curves until achieve the angle we're looking for. Maybe that might be just a little bit too much. Let's try to adjust it better. Yeah. Let's just make it thinner because yeah, too thick was not really making it for me. And also, let's make the curve just slightly less strong. Try to keep both sides aligned, although we are going to be using symmetry now, but to avoid any weird issues later on, we're going to play with the angle here so that we get it straight. Now we're going to be filled on the corners. Now we can go back and at the usual tus moves we work with by angles and as a general way. Now we want to increase the durations here. We want smoother results, so we're going to look for that after we connect these two. So far, the connection is not too bad, but we still need the super loops. I would say this is about right. We can totally use this. Do the pin. Or it's going to be pinching the loop or going through. Now, let's sell this. Now, usalth smooth like always make it thinner. Now if we want for it to be squared as well, we need to add the correspondent super loops, and if not, we can just leave it like this. Now we're going to be putting this in place as an instance always so that if we modify the original, we modify this placed copy, and we're going to move it in place, rotate it so that we can have it as we like. And now we're going to adjust the straps according. Apologies for my allergy. I will try to not sneeze too much. Okay. I was trying to get this slop around nicely. Trying to keep them not clipping together. Okay, this is starting to look good. I made speed this up a little bit so that it doesn't get too boring. But objective here is to get these angles correctly looping around the belt. And once that done, we will continue. It. Okay, so now that our belt is adjusted, we're going to be creating the side panel, the padding that we have under the pouches. So process is going to be pretty much the same starting off from the belt that we created in zebras. We're going to be extracting those polygons, adding a few subdivisions to match the shape of the panel, then select the loop that is the bigger segment from those two loops, we're going to select all the others on top. And we're going to be moving them a little bit so that we match that shape. Make sure you don't have edge enable edge constraints, sorry, which was the tool for moving the edge through its normal vector from the edges. Now we're going to be doing a shell. And we're going to detach those because we're going to be changing the cell settings on this one. We're going to add the usual to smooth by angles and normal to smooth. Yeah. We're going to do an inset here. A bible now to create that inflated effect. Now we move those edges using the edge constraints which we deactivated before. Now we're going to play with the smoothing groups to achieve the desired smoothing. But before we're going to do this inset and add a few super loops. This is looking much better now. Now we're doing that temper using quad temper, but I always remember we can use the usual, the normal one. Just doing some refinements in here. Looks about right. Still a little bit too hard or we're going to keep adjusting it. Okay. We want to keep some sort of cleanness in there. So let's just jump on the next piece. Let's try to replicate the shape we had. Now let's just do the shell. Let's insert the geometries that we have correct topology. Okay. Let's just the belt and now back to this piece. Now, as I said before, let's grab this and create an inset so that the topology connects nice for the smoothing. The inset we can do it with a bevel. That way we also achieve some volume. And now you select for the smoothing groups. To smoothing groups, sorry. Okay. Yeah. With this amount of shell, I think it works is fine. Now, let's just get those two working nicely together. Isolate everything to see if we're getting it working nicely. We just need to fix any possible clipping or structural issue. Almost have this. A couple super loops to make that more defined. That double rim there to add an extra bit of detail. We need to adjust as well. Okay. Alright, so I'm trying to get this sort of clean. I want to have this, like, secondary reach so that it adds a little bit of complexity to the piece because they are quite simple. And this way, it will also be able to read better from far away. Just making sure that the whole thing is smooth, except for this, which needs to read clean, sharp and nice. But I think we got it. Okay, now, we just need to get rid of those clipping issues and the old pieces we created. And we're going to get rid of the shoes as well. They are used adding polygons to the skin which we don't need. Same for the mouth interior. Let's go ahead. We're going to create the connection with the belt. So the padding from the pad to the belt itself, We're going to create this sort of cap first. I is going to be the connection piece. Then we're going to create the bit that goes in the center. Now, we're going to create this next root to make this connection. Adjusting the inclination for that loop so that we have some sort of angle in there and it looks a little bit more interesting, although those details might not even be visible on the wake, but they will just add a little bit of noise on that area. And because of the belt being so simple, it is good to have some extra noise in there to extra complexity. Now, let's get those rims on the belt. We first create the loops. There is going to be the base for them, then the secondary loops around them and then just move them to create that effect. Just like that, we get that extra bit of flavor. We're going to do this last buckle belt. Sorry, belt buckle. Pretty much same process as we have been doing with any other buckle, so I need to further explain on this one. To get those in place. Because the one we had previously graded in Zibros might be a little bit more thick and not as refined. Uses bits in here. Okay, so we're going to be doing pretty much the same thing on this loop. We're going to be cleaning this up a little bit and doing the rims, as well as creating. The bottom. We are going to create a explain as well that we are going to be using symmetry and creating two more instances. So we're going to start off from this shape and creating symmetry here. We're going to just the roundness on it and then add edit polymodifier so that we can bevel the caps, do the three instances, and then we have this very good looking piece for Okay. Yeah, so we have this really cool looking piece for the connection of the belt here on the back. Now we're going to do the be lop around, duplicate that piece and connect and adjust accordingly. Almost got those ready. We need to grade the other two belts. So pretty much just copy this one a couple of times and adjust it. And since they are not going to be seen, you can just remove that part and adjust this loop. This one, we're going to be doing the same thing. Just move it somewhere, that makes sense and adjust the other loop so that it looks like it has a good flow and then adjust the belt around the loop. Now, just a few more little adjustments in here, and I think which should be good. It honestly looks quite solid, I think, looks pretty cool. We can adjust this to make it a little bit more wavy or just keep it straight. And now we're going to be doing this whole thing under here, which is going to be a little bit tricky, but we're going to start off from this belt buckle that we created before. Now for this piece, we're going to grid the copy, do an instance, put it straight. We're going to be working over this one so that we can work in an easier manner rather than just working with a piece on the side. But sorry, since it is an instance, we're going to be able to keep those hinges on the one that is placed on the armpit. We're going to be cleaning the shape so that we don't have as much as many loops. Now we're going to be doing this filet on the gardener so that it looks round. And now extrude the center loops so that we have that extra edge loops, do the same on all the edges to make them feel round and use those two inset towards the interior. And that way, we have the piece soft the wet chamfer, the good thing is that we can adjust the chamfer even after smoothing or finishing with it. So it is still a good tool that I would recommend. As for the vacuum, we're going to adjust it a little bit. We're just doing the pin here. We need to align it correctly with the rest of the buckle. Give it some volume. For this one, we're trying something different, so that is why we're going this way. Okay. So for this, we're going to be adding this ring. So you just create elix which we're going to adjust a little bit, and then we're going to be placing it in here. We need to make it like tight sealed so that it's easier for low poly to be done and baked later on. Now, we just put it in place. And already looks quite interesting. We just do the loop around like always. Okay, so a little bit more cleanup on the curf so that this looks much cleaner. And we're going to be doing the cut here so that it's like a thinner strap grabbed onto another thicker strap, wider, not thicker, sorry. Let's get everything in place without any clipping. Et's create quickly this connection pin. Very simple one. C. Move this a little bit. With the connection piece that belts around to creating like this hanging cord from the ring, which we are going to be starting from this cap, this spheor we're going to be exterding it, doing the inset, internal inset, and then the instance, which we are going to be placing here and then creating a spline that loops around, increase subdivisions, adjust the spline slightly until we have a knot. Just refine those angles a little bit, increasing the amount of points, make it feel natural and loose and put everything in place. That is, like we said before, the sort of details that are going to bring flavor into this. Okay. Time to clean this bracelet up. We need to get the in two separate pieces so that it feels like it really connects on different layers. And we are going to quickly get this buckle done and apart from this and adjusting the belt around the arm, I think that's going to be pretty much all the stuff we are going to be doing in this chapter for three NIMxF the cal, it's going to be the exact same thing. I think as before, starting off spline, refining the curves we want on the corner, and then just continuing the spline with the direction or shape we want for it. This one in particular, we're going to be doing the attachments on the sides. Just like this freeziv stuff, we need to get an edit poly for this. But yeah, we're going to wrap this one quickly and then adjust the loops on the arm, and we'll see you guys on Chapter 25. 26. 25-Creating Hard Surface Elements Part2: Hello, everybody, and welcome to Chapter 25. We're going to keep working on three D Max to create now the prosthetic arm. We're going to start detecting all the tools that we created in bras, and we're going to proceed and just try to create a cleaner version of those. So even though the topology from zebras is not too bad and we could reuse it, we're going to start creating this piece from scratch. So let's just get it sort of in position so that we can use it as a template. We're going to create a spline well, align, actually, which is spline. We're going to put the vertices and replicate the curvature from the reference and just adjust it as much as we can on a flat angle for now. And we are going to create edited poly, set the pivot in the center, then go for a symmetry and also a cell. Oh, extrude, actually. We're going to be connecting all the points so that we can have a pretty decent structure here for topology. And we're actually going to be removing that extrude that we did because we're going to be bending this to fit the reference. So we just want to create this sort of base topology structure. Let's get rid of that. Let's do an inset. And now let's add a turbo smooth. Let's just keep it on that sub div level for now and we're going to put it sort of in the center, and now with a bend, we're going to try and get this angled the same way as the reference. We need to play with the angle there, and now we're going to use another one which is verify to create that front curve so that it fits more nicely the reference. We don't need it to exactly fit, but we want to get it as close as possible, since otherwise we will be affecting much the initial blockout, and it is not what we want. So make sure you spend some time with the bend and this verify to make it work as best as possible. Let's just get a tapper in place as well so that we can twist, not twist, actually, tapper. Which part of the shell is going to be thinner or more white. And with those three controllers, we are going to be able to suit the shape quite nicely. Okay. I think we just need a few more adjustments. It's quite nice. So good thing is now we can actually put the through smooth on top, set it biangles and we are going to chief a quite nice bevel with this. If we assign properly the smoothing groups. But also, because we have everything on stack modifiers, we're able to modify the shape quite easily here. If we don't break it, of course, but we can modify the shape quite nicely in an easy manner. And then with just activating the stacks again, we can see if it fits or not. We are going to place it as an instance and try to replace the previous one to see how is it working? We need to see if it's really making the cut or we still need to police it a bit more. So let's play with the shell a little bit so that it fits. There is a few things I still want to improve, but it's not too bad. The process is going to be pretty similar for all the other pieces. So I will speed it up a little bit and comment on top of them, but it's going to be pretty much the same thing. So you guys should be good to go with these modifiers I already explained. And for this one, we're going to be doing something even easier. So we're going to create an instance of the reference, put it in place so that we can actually have the arm on the side to model all the tools straight. So for this one, I started from the tool itself, and I'm just reducing the amount of polygons. And we are going to do asymmetry by putting the pivot in the center. And let me make sure I have the pivot right for the symmetry. We just need to set the proper reset angle for the pivot in the program we are working on and make sure it is aligned on the center. Then on the other pieces we work on previously, we just put super loops near the borders to achieve a hard defined style. And then here we're just doing an extrude and rotating it until we achieve the intersection we want to create. Then to achieve the smoothing results, we're just going to be changing the the smoothing group the smoothing groups inside so that it's smooth like that. And then we're just going to use a quad safer to police the bevel around it. No, just some more adjustments on the sides. If you realize they've got spur, it is more subtile now. So I ended up reducing it so that it's not so noticeable. And I'm just trying to get the protective shell to align better with the cylinder underneath. So here, I was just playing a little bit with the alignment of the loops. Since on the side, I was not being able to achieve a good alignment using a snap tool. And now for the interior piece is going to be the same starting from the same piece I had created already. And for this one as well, we're just going to be making sure pivots of all these are working nicely so that when it rotates, it makes sense because we want to make the arm functional. So we want to set all the cylinders, which are the key points in rotation and to set the pivots on the center of the elbow so that it all can rotate nicely. And for the piece, we're going to be modeling the same way. We're just going to go for the initial primitive we created in zebras. We're going to be reducing the geometry and doing symmetry and then adding any extra super loops or extrudes that we need for the tailing, and that will be it. Then for nuts and bolts, we're just going to use the three Dymax insert messes that come by default with the software. Nothing too difficult. And we're going to link it to the Subtool. That way, when we rotate in here, even though it's not going to be animated in here, but we can already test that the rotation is working nicely. If we don't do these things early on, then we will have issues on the low poly and they will carry on furthermore. So it is better to just fix them now. To hear you, you see me adding some extra detail. This is just adding another chamfer in there for extra detail. Fillops we'll cut it. Just going back and forth a little bit until I'm happy with that piece. Just working a lot with the Pivot, as you can see, because I just modeled the pieces inside zebras just as a sketch. They are not perfectly aligned, so we're having issues with all those pieces. So I might end up just like you saw trying again realignment of the Pivot. A few times I'm also removing some geometry from the interior piece so that the extrudes on these pieces can actually go through. And I'm back again playing with that symmetry until I get something clean. You can see that's me just exploring the options, see if it works any better without the gap, realigning the vertices so that they are on the same loop direction as the rest and just trying a different extrude so it doesn't look the same as the front. It is going to be the same principle. So now we're going to be doing a quid sampling here and changing the smoothing group so that it only smooths the walls of that extrude and then going to get and do another set. Of the same process. All right. Same thing for the knot. Now, we're going to get on this piece because we need to really clean this up. Let's just create a cylinder and stretch it a little bit. But we really need this piece to have a proper pivot. So we're going to just replicate the shape exactly the same. But now the pivot is going to be correct, so we're going to be able to align the rest of the elbow to this one and it's going to rotate correctly. This is much nicer. Let's add this extra detail. All these rims are pretty easy to do by selecting an edge and creating a chamfer. It can either be quad chamfer or use normal chafer. And they are always very nice. They add some detail and they are not difficult to do so. Quite handy tool to fill some gaps. Now let's just try to align the center. We're going to create that extra cylinder. Again, as another tool in max so that we have the pivots correct and they don't have any stress or deformation, which is the issue we're having we were having with the other cylinder. So now let's just replicate the exact same shape which is here sort of extrude, and then another one here, and we can connect those. Just make sure you add the correspondent super loops so that when you smooth and you chan for them, you get some very nice rims, which are going to look quite nice for the amount of time it takes. Now let's just get some interesting Sci fi bolt in the center. Let's just scale it so the pebbles look thicker. Turbo smooth, like I always do asymmetry, and now we're going to be finally having the joint, very nice detailed with the pivots correctly, which is quite important. Remember, don't underestimate the technical aspect of joints, especially if you don't want to have a pain in the *** later on during low poly stage. So now this is way much cleaner, way much functional. Now let's just go ahead and create the arm section, which is going to be a tricky one. So we start off from a cylinder. We want to have some sort of similar proportions to the head of the let's call it muscle, but, you know, like the armor cell. Now let's just go angle this slice so that we can remove that geometry. Now we just have to create a cell as a placeholder to smooth the usual set of modifiers we always use. Get this properly aligned. Please try to do it with the edge constraints so that we don't break the cylinder shape. Still, it's a little bit difficult because if you move much the edge on the horizontal angle, you will break the shape. So you need to do it using a little bit more subdivision as well. By adding this extra loop near the border, we are actually restricting the deformations that the arm can suffer if we tweak the border, so it is a good idea. We're also going to be creating the forum from here. But so far as you can see, we are just creating the templates for the joint section, which is going to be the tricky part because we want them to rotate correctly using as a parent the same pivot and being properly aligned with the rest of the pieces. Now, we want to add some extra loops here to add some thickness, and at the same time, we want them to keep some sort of good angle. That's why we are restructuring the topology like this so that it feels hard cut in that area. And here, that's me playing a little bit with topology because, you know, we don't always land it the first tray. So you need to see how topology behaves. And that's why we want to get this sort of border structure. Now let's get this adjusted. This is just the internal joint. So We just need it to look very clean and very fitting with the other piece, the form piece. As you can see, the topology is quite simple. We are getting most of the use of this piece by using the smoothing groups, and turbomoth using smoothing groups, of course. And we just need to properly fit this and add enough cuts so that the piece really flows around the intersections with the form. I just set every loop and every line on the center position they need to be. I'm just adding these extra loops for more support and achieving a different smoothing. Here, I will stop the speed a little bit so that you guys can see the topology better. So basically, there was not much order in the way I was approaching this piece. But what I'm trying to create is this not sure if it's called Ecdral but this very angled shape, following the different cuts that I previously created on the sketch and used at the same time deviating its direction a little bit towards the form so that it all fits nicely. Not sure if I will keep this interior part, honestly. I just trying to make it work. That sort of makes sense. But as you can see, we have a little bit of rim near the joint. So those two flaps that open to the sides, that here, it is what it's actually making it look sealed and nice. Also, this piece I'm editing right now, we need to align it so it doesn't really intersect. Align it or edit, like this looks good. And the piece overall, as you can see, we just created a few super loops down here, and the rest is done by smoothing groups, so it is a fairly easy piece in topology. Not too complex. So now I'm just trying to get everything even more clean. And this cut right here, you will see now. So I'm just trying to get some extra detail in here, which reads nicely and also adds some more complexity to the joint area. Just trying to play around and see how it's going to work out. Some of these pieces are designed as we go. So we need to be careful on the steps we take. We don't want to mess up the rest. But it is pretty simple structure. So and also we have a lot of the piece hiding on the back part of some other piece. So it is easy to do this sort of extracts. We are not going to really mess up anything on the other side. Yeah. Since this took a little bit, I'm going to speed this up again and we're going to keep commenting over this piece. Okay, so in the end, you see that I spend a lot of time playing with this, even though it is not a complicated extra to do, but just wanted to make it clean and have a good bevel, which in the end, I achieved, as you can see, by removing, sorry, by adding a couple more centimeters to the under polygon. Yeah, the one that's hiding under that plate, and also adding a quite spur in the end. Trying to get the whole thing moved back with sf selection because I didn't want it to click with the form and I don't want to or do not intend to change the shape of the form. But at the same time, when I'm doing this, I'm just messing up the topology a little bit of the frame piece, let's call it the one that's under. So the frame piece was getting messed up by this. So I was being very called, very careful when moving with so selection. But in the end, it worked out well. So for the shoulder pad, we are going to be starting from sphere because it's the more similar piece. We're going to rotate it this way because we do not want to get those caps the area where the sphere closes. We do not want those caps to be on the sphere. It sorry, on the shoulder pad, it will make our life more difficult. So we're going to be adjusting with poly and self selection sphere until it suits kind of nicely the shoulder pad. Keep in mind, we're going to try to do it in a symmetrical way although we are going to be fixing that as well later on, but just be mindful of the formations you do so that they do not destroy a lot your work. And keep it sort of symmetrical. I know the design is not symmetrical, but still don't make it too blobby. If you work very symmetrically, it will not feel as well and grounded as before. So now let's just move the more closest verte to the contact position by using the edge constraint. And with this, we are going to try to get the shape as close as possible, remove the s polygons and now try to get it as close and similar as possible to the sketch we previously did. Okay. So the border section is almost ready. We're going to reinforce this upper edge with a super loop, sorry. For the sides here, we're going to add some subdivision so that we can properly represent those curves until we are really achieving that initial sketch curvature. Then here on the center, we're going to do the exact same thing, use the line, the nearest one and then cut so that we can get that bevel It's like so. Keep in mind, we are going to be getting some different smoothing depending on how we structure topology on that area. So just be mindful of keeping it quite clean and round. If we break much the stricter, it will not look as nice and sharp. The upper section, we're going to be doing the exact same thing. Just make sure we have enough curves. We can use here the flow connect, which is the connect tool that also curves the shape based on the algorithm of both loops around the interpolation, sorry, not algorithm. And keep doing this process of adding more loops and moving the border sections until you are happy with the result. Also, make sure like I'm doing right now, use sub selection to avoid any weird pinches or deformation in the shape. As for the bull in here, we're going to select the squares, do an inset like this. And now we're going to select the smoothing groups and do smoothing like that. If we use that just slightly the shape around and play with the smoothing groups, sorry, turbo smooth by smoothing groups, we will be able to chief something pretty nicely just by playing a little bit with this shape and try to make it as cylindrical as possible. Keeping everything on the same plane, using the snap tool so that it actually has a flat surface. I'm using the snap using the sketch reference so that they actually have the same depth. Just going to flip this element. Like this. I'm going to be attaching the topology because it will take me less time and it will look more consistent. So now I just have to use target well to connect the exterior polygons to the cylinder polygons, and we should have exact same structure. You just need to fix some of those pumps and inconsistencies that we created throughout the attachment of this piece. And now we're probably going to be moving some extra vertices so that we make it all look more smooth. Now we do a chamfer so that it looks a little bit more round, which we're going to be adjusting in a bit. So we just play with the values until we are happy with it. Now we put some more bolts that will also help bring the design closer together. Add some rims and stuff like the same kind of details that we were working on before. That always helps hide any kind of pinch or detail that doesn't look as clean. With some extra detail, it will look more complex and more difficult to read any possible inconsistencies or noises on the surface. So make sure you add those sort of stuff sometimes, and it is a really cool and easy trick to make your designs look more complex, more detail, and at the same time, hiding any mistake you could possibly drag throughout the process. Okay. Arm is looking quite nicer now. Let's just polish this underpiece. Not adding much detail on this one, because it is just under armor pieces which are not going to be seen as much, so we don't really care that much. We're just going to add some bevels with interesting shapes, like we have done in other pieces and some extrudes to make the piece look a little bit more interesting, but nothing you should stress too much about. As you can see, I'm not really making any particular design. Is something that flows nicely with the shoulder pad. But we are actually just, like I said, creating some bevels, some chamfers and not much apart from that, as for the plates on the chest, the process is going to be quite similar. We already have are pretty good base from zebras, and it is complex enough so that we are not going to be spending time creating it from scratch. It is also not as blobby as other arm pieces were. So we're going to be starting from this one. What we want in this case is just a little bit of cleanup in the borders in case they were a little bit messy like they were. And use some connection detail together with the arm so that it feels more consistent, more part of the same design. So yeah, we're just going to add some chamfers here and there. And for the chest, pretty much the same thing. We're going to work over the base we had. We're just going to do some refinement and cleanup. So detach both pieces, do cell, a new shell, so that we can actually edit one thin pattern and then get the whole thing looking like a plate. In here, we're just going to take advantage of that to clean the lines and add some extra detail, which we didn't have before. Setting those tips in a better position to make it feel more solid and well connected. And for the forearm, we're just going to be doing the same. Since the pieces are complex enough and we already have a pretty good base from cebrs, we're just going to add some details that are going to help bring the piece forward onto the next level. So we're just going to be selecting the edges around doing a chaf Again, to make them feel more complex without actually doing much extra work, as you can see, it's just a few clicks and just playing with a beble It also helps creating this angled bebel on the side helps make the design feel more robust and forming grabbing the interior fragment, the interior frame. So now we get lower on the forearm. We're going to be adding some more detail to this planet. Jumping back into the arm now to this piece right here, we're going to use duplicate it to the side to create this border on the lower part, which is going to add some more details. So I'm editing this duplicated version, moving it to the side. Now we're going to extract just this frame right here. We're going to align it in place, add a different cell. And now we have the border and the other part of the shell in two different pieces. So now I can control this one better and add this chamfer right here on the border, which is going to make it look more solid and just adds a lot more flavor just by separating the piece from a loop, then adding the shell on two different pieces and then chamfering the lower one. So it just makes it look more complex and in my opinion, much nicer. Same thing for this. Even though, if it's just a simple piece, it is worth spending a little bit of time making it look more structured, realistic. So adding the chamfer down there and cleaning up the curves on the upper section. Okay. So we're just going to adjust a little bit more the other frame for the arm section. And with the modifier FFX we are going to FFD, sorry, we're going to adjust the arm exterior armor a little bit so that it feels more beefy without actually destroying much of the detail. It is a cool way to adjust pieces once you're done adding detail and you don't want to mess up much with the topology. We're going to add this cut here that it feels more well crafted so that there is no intersection and it actually feels gets going inside the So we are just moving the vertices until we have the same roundness as the piece going in. And we do the same. On the other side. Daddy almost ready. We're just going to add this move this bevel towards the inside so that it feels, again, more solid. It doesn't feel like a thin piece, which could just break easily. So everything needs to feel robust. So see that something useful is that we are working on a flat plane, and then we have the shell modifier. If we don't do it like this, and we will be working all the time using a shell or some thickness, it will be super difficult to make all the loops loop around correctly because the piece will not be like one side. It's two sides, so it already connects all the way around and will make your life a lot more harder. So keep it simple. Always work on the ddited poly under the shell. Like this, once you're done with the IDT, you will see that all the detail comes with cell and the truth smooth. So now at this point, all the arm is already well crafted. We are just solidifying everything together, making it really connect and feel like it's well engineered, even though this will never work in the real world, but at the same time, you need to make it feel like it could. H So now we're just doing small cuts here and there to just finish up crafting this, adding some extra loops to make it more sharp or less sharp, depending on how you want it. And we are just refining until we have the perfect shape. This extra step here where we are making everything really well, like connect properly. It is what deference is normally a less professional work to a more professional work, because sometimes you see really cool designs which work super amazingly at first sight. But later on, if you start paying attention to details, you will see that there are some stuff that are not used working correctly. And it's not like it's essential. We're just doing video games or movies. It doesn't really need to work. But the more you document your work with references, the more you make it feel that it could actually work. But at the same time, keeping a cool design. It is when your work is really going to come forward and stand up. Stand out. Sorry. So yeah, make sure you spend some time on that because as you can see, we're not really changing much right now during the last few minutes, but it is really adding all those details and making it feel much nicer, I think. So I think it's worth it spending that time in there. Alright, so now we are, as you can see, collapsing all those tub smooths on every piece, because we are about to export this into zebras because we are final done. So make sure you either remove the tuvimooth if you're going to be smoothing in zebras or just collapse it in case that it is spline and you want it to make it deadly poly. In the end, just make sure you keep it at the same at the subdivision level you want for zebras, which should be not too dense for everything that we have done using Avi Polinrovmooth. But remember to collapse the trovo smooth by smoothing groups, otherwise you will lose all those hard edges you created using that tool. So now, this is pretty much it. We're going to get this into Zebras right now and we'll see how this looks. And after Chapter 25, we're going to jump into creating the hair for the character on Chapter 26. Okay, so these guys saw the final result for all the three Dymax pieces as a result. As you can see, arm is looking fantastic. It is looking much more solid now. All the detail we put into every piece is really coming along nicely here. There is so more stuff that will pop up with the textures, but for now for high poly, it is pretty clean, pretty nice and same for every other piece that we created. So that's everything for Chapter 25. See you guys on Chapter 26. 27. 26-Polishing Hair and Face: Hello, everybody, and welcome to Chapter 26. We're going to be covering the hair creation right now. For it, we're going to be using special tool, which makes life much easier, and the results are quite nice. So first thing we need to know is, well, to specify for ourselves, which direction we want to get the hair going. And even though we already did sketch and a blockout, we are going to be doing some minor adjustments on the direction. So first off, we're going to select OTool which is going to be provided for you. In the tutorial folders. And as you can see, it's simple curvas like I'm showing you now. So you just trace the hair wherever you want, and it will create like ice cream shape or star shape, which you can trick a little. Here on the curve modifiers, and that will change the parameters of the width of the start of the hair and the end and how it's going to evolve. So you can tweak that depending on which part of the hair you're creating. So we're going to create a group for the hair, and we're just going to get going on top of our blockout, we're going to do these traces to create the base. If we consider that we need to tweak the curve throughout the process, we will do, but if not, we will just keep it the same. The way we're going to be approaching this is just carrying the curves, then splitting it differently and just readjust the previous curve so that we don't need to do multiple traces and we don't have issues of stacking the curve on top of some other geometry. So let it happen right there. So we're just going to be creating new curves in case that we want to create a new curvature. If not, we will just duplicate them. So this is going to be all the time like this, just placing curves. What is important here as a general criteria to follow during the tutorial is that you need to create the hair like flowing in a direction that feels natural to you or to your hairstyle. So if you have some reference, that will be better because you can already see the flow of the hairs and if you don't try to make it curvy and with some intersection, so it doesn't look too much like an ice cream cone. And and the result will be much better. It is okay. If the tips are not perfect right now, we will be tweaking tips and the overall volume later on. And we will be also creating what you will call a flyaway, which are some hairs that don't really follow the main direction of the rest. But for now, this structure is going to be first laying out the base. I'm actually going to speed this up while I speak about this. Okay, there we go. So like I was saying, the process is better structure if we start off by creating a base for everything, no extra details, no floating, no floating hairs or anything, like you're seeing here, like the main block of hair, fixing some intersections that you see and trying to create that layering a little bit, but not really spending much time on this for now. Then we will be covering the same process for all the hair. Then we will create what will be stage two, which is going to be flying hairs, not like flyaways, which is going to be some details, but more like all parts of the hair look that are floating like the ones on the forehead, the ones on the sides, you'll see now in a little bit. So for now we just need to worry about fixing the first stage. So any any layering that we have between different hairs so that everything feels sort of natural and now proceed and create the same pass on the scalp itself. So this one is a lot faster because they all end up hidden behind the elastic band, and they all start from the forehead. So pretty simple part. Just try to not make symmetric this area, the center so that it doesn't look too fake and it feels a little bit more natural. Yeah, same thing for the back. Just make a little bit of asymmetry, then create some different curves here around the ears. Quite simple. We're going to be stopping now for the flying heirs, which is a little bit different process, and I want to show you slower. S for those areas, use first place the curve. As you can see, we have variation if we pinch them away from the head and they won't snap to it. Just trying to intersect them like I'm doing right now. And make it feel like yeah, the hairs are flowing from under the rest of the hair loop so that it looks more connected. And now we're going to be doing this segment. The hairs from the forehead. I don't know how to call them honestly, but the process is pretty much the same. We are just starting from the sketch. Only difference is that we're going to be pinching the tips like we're doing right now to get them flowing in a different direction. Like I was saying, not spending much time in here now because we will be doing this with a different process later on in the game version. But this one is a cool way to get a quick hair look for your hi pools, and it's also nice for the amount of time that it takes. I think the total time for this was about maybe an hour or so. It's speed up, obviously, but the real time verson was just an hour. So I think it's worth to do it. I always looks very nice for presentation to the clients. As you can see, it's just dragging some curves, then trying to get the curve to flow a little bit better with the forehead and everything. In the ultimate instance, just creating some loose hairs that break the overall flow of the rest. So I'm going to speed this up again and comment over the more final result. Okay, so we're going to finish those clams right here, which they're mostly symmetrical. We're just going to break the symmetry a little bit, but it's helpful to be working with symmetry to just get the main volumes quicker. Once we have this, which we are almost ready, we just need to make sure that it really blends well with the roots of the rest of the hair, and we don't have any super huge blank space. So everything needs to look sealed and well connected and natural as well. So make sure no clipping, no weird overlaying. Just try to keep it airy and flowy. Just like this. Basically moving the different hair clamps on top of each other so that the connection is good. So this you're seeing right now. This is the flyaway stage. So basically, we create really short hair clamps and we move them up so that it feels like they're just flying out of the head. This really helps break down different hair directions. So if you have the on the front part, you have two different directions, and the third one being the one going towards the pony tail. So it is a good point to create those, and that will act as a connector of all those three parts, making it look more natural and not so fake. We're going to do the same on some parts of the ponytail as well so that it feels as well, like messy and crazy. We just land the curves, and then we just move them either with the curve s or with the move tool depending on which kind of deformation we want to achieve. And you can create some as you saw coming within the middle of the rest. So not all of them need to be on top. You can just do intersections with those. And all that together, as you can see, very quickly is making the whole thing feeling quite natural. It doesn't take much time to do this whole process. It is fairly simple, but at the same time, looks pretty cool, I think. Next up, after we finish this pass, is going to be creating the eyelasses the eyebrows for the character. I still need to do some more work, but that is what we're going to be covering next. Okay, so you see me here placing just a bunch of them very randomly. At this point, what I'm trying to do is create different layers coming from up to bottom, different layers of flyaways. So basically, I started from the top, and then I create some more that start underneath those to fly away as well, midway. So we end up with three layers, one on top, one on the middle and the end of the ponytail. We are going to do a few more adjustments here, and the hair should be good. Like I said, it's just temporary, it's not a final thing. It is used for a color presentation or if you're doing a high poly, then you can use this as a helper tool instead of having to do fierns or sculpt it manually. This achieves a quite nice result without much effort. Now, let's just put all of these into one folder so that we can rotate it and give it some more nice angulation. Then we modify all of those with a move tool as a block so that we can change the volume easily. And some final adjustment so that it flows more similarly to the reference we're looking for. But remember, we're going for a more realistic version of the concept. Let's just get the color, although we are not really going to be using it, but it helps us spot the different gaps that we have. Working with flat color like we did, it is quite useful. Now, what we are going to be doing is changing slightly the preset for the hairbrush. We're going to be deleting the subdivisions and layers from the head so that we can actually use the brush into the head, but remember to use duplicate it first so that we don't break or high poly working phase. And we're going to isolate the rest so that we can create here thei lasses. So we're going to get on the side view. We don't need much geometry. And we're going to use scale the brush so that is not so big. Oh, we need to deactivate the snap. And just find the right angle. That looks quite okay. I think I'm going to go with this. Let me just change this. Okay, that looks about right. So we don't want much curvature on this one. It needs to be subtle. And we will adapt each one of them later on. Okay. So now we select, sorry, split the curve so that it doesn't work as a curve anymore, and we are going to duplicate and place manually all of these. That is going to take some time, and we are going to be scaling down some of them. So basically, the closer they are to the corners you make them smaller. Try to create some sort of randomness on it. So angle them differently, stick two of them together every once in a while, which feels natural. That happens all the time with eyelashes. And place them if you can following a reference as well so that they really feel natural, you will see in a second, and speed this up. Seeing this in a quick view, it is much easier to understand which pattern we are following. Basically, as you can see, trying to stick a few of them together, you get them flowing with a curve of the eye and just trying to get them smaller near the corner, especially on the interior. Because fake elases which are very common nowadays or when you use eyeliner, the eye lasses get much bigger. So that is commonly done towards the exterior of the eye to make it feel more sharp or bigger eye look. So just make the interior ones smaller and exterior ones larger. As for the under eyelid, usually they are smaller, so just go like this. And keep the same principle, use some of them sticking together. Some of them randomly rotated. And once you have all of them, just merge them together and with move, you will be able to contar this much easier than just painting black so that they actually look like eyelases Ava. You have a quite nice eye look fairly quick, fairly simple, with a few curves. If you don't want to use this hair inceebras, you can also do it with clay tubes and just create tubes. It works the same way. For ELSes it doesn't really make much difference. Now we are enlarging them and moving them so that they are more visible from far away. Just try to follow a reference from a model or some person with makeup Now we're going to paint with poly paint on the head, the eyebrows away because we're going to be doing them as well, using the brush. So what we need to do is first paint them away and just picking the color from the texture, painting on top of it, and we are going to be doing a mask. You have an idea of the direction we want to follow. Let's start with this basic one, and we're going to keep adjusting as we consider. Okay. So this looks quite in the line of what we're looking after. We don't want her to look too angry, but we don't want her to look either too peaceful. So someone like this is good. Now, we're going to also adjust the brush like we did before, so that the size is way smaller because for eyebrows, we don't need much thickness. And for eyebrows, it's also very important that you check reference for direction because they change a lot depending on the person. So just make sure that you have something a pattern you can follow. Can just create a group for all this? I the eyebrows on volume with inflate on the head. Now, I'm just going to get started by duplicating a few and trying to place them trying to place them following the reference that I have. Any eyebrow reference can work. Just follow the direction you have for that set of eyebrows and try to create some main ones for the overall direction. Then once we're done with that main direction, we're going to do the upper section, which basically are going to be crossing with the lower one. I'm going to speed the process a little bit because there is not much interest on how to place those basically the same way as on the hair and eyes lasses, tricking the curves so that they follow the direction. Just keep in mind the more away you are from the center of the forehead, the thinner and the smaller they need to get like this. But now after I place all of them, I'm going to do some general tricking that is going to be more appreciated in quick speed. So now we are creating those like flyaways, but on the eyebrows on that center part. Now we're going to be duplicating the eyebrows after we merge all of those hairs together. And with this, we want to create some more like eyebrow thickness, but we're going to be smoothing them so that they look thinner. And now we need to compensate for that little that little thickness by mixing those two duplicated eyebrows together. So this is how the final result would look like, making sure we can improve that with smooth a little bit more, but that is pretty much it. Like I said, we will change this later on on textures and Alpha cards. So no need to work more on this. It is as well, a quick process similar to the hair and the eyebrows. And as you can see, the overall look is quite nice, I think, hopefully you guys enjoyed it. This is going to be it for Chapter 26. We'll see you guys on Chapter 27. 28. 27-Finalizing Face: Hello, everybody, and welcome to Chapter 27. On this chapter, we're going to be covering the creation of the detail for the head. For it first, we're going to be hiding all the sub tools that we're not going to be using like the hair and yeah, everything that can bother us. We're going to get started by creating a layer, a morph target. We're going to start adding different segments of what is called XYC displacement map. XYC is a web page where you can find many different displacement maps for human heads, hands, feet, different parts of the human body. Those maps that XYC provide include different segments of scans, which include high detail, high frequency detail of those parts of the body. In particular, today we're going to be applying one of the XYC maps to the head to achieve hyperrealistic detail on lips, eyelids, and the rest of the parts of the head. And we will see now how to apply it. First, we're going to do a quick pass on some secondary details that could be handy to define before applying this fine detail. And of course, anything that is very unique or particular from the face like scars or big bumps or whatever that you're going to be needing to be smoothing the surface, it is advised to do now before starting applying the XYC displacement. So we're going to quickly go through the secondary pass of detail, and I will shortly get to explain how to use XYC displacement. One part we want to accent to it before adding more detail is the lips. We want to create this sort of separation between the border and the inner lip and also any big curvature or volume that we want to add to it because the high frequency data that we are going to be adding is not really going to do major changes on the shape. So everything that we are doing right now is because later on will not be possible to do. So basically, it's just cleaning up some of those features, making them more readable. And in some cases, like you adding subtle wrinkles that might not be in the information from the XYZ MA. You can see most of the stuff we are doing is going with them standard over some creases of the skin, going with standard brass to define the borders of the lips and mostly those two tools. Also some clay buildup to increase the fat accumulation on some areas of the skin. But the process is quite subtile. We don't need to do super big changes right now. Just like doing cleanup and definition pass. Okay. So you can see here what is interesting is to be working with a really thin damp standard brush with high intensity but small size as well. So that basically just creates a thin crease for areas like the nose. And for other softer areas like the cheeks, we are looking for a bigger brush with less intensity so that it creates a more round crease. Okay, we're almost done with this pass. So now, to be able to see how actually the detail is going to be affecting the character into a final state with subsurface, we're going to tweak the parameters of the shader. The idea is to achieve somewhat similar to the shader we will be using in the end. So we want to aim for some sort of wax effect or subsurface effect, however you want to call it so that's why we did those two tweaks on the material. And now we can test how the detail we did is working. So this map you're about to see right now, it is the XYZ information. We have different numbers for different sections. So basically, we're going to go select those segments because when you load the map into Zebras into the Alphas, you actually get all those sections separated. So we're going to select the different areas since here the mid value. You need to make sure it is set to 50 and the backface activated. Now we're going to see which one. If you see the number of the Alpha we selected, this one is 01. So you just need to go to your atlas where it's indicated where 01 goes, and you just need to place it in the same place. In this particular case, let me just quickly hide some of this stuff. Yeah, this is better for this part of the task. So in this particular place, we're going to be placing this Alpha in between the eyebrows, if I'm not mistaken. So we drug it. At first, you might not be able to see much, and the alpha might seem a little bit weird. Sometimes this is better to do in a different layer. With more subdivisions, that's why we baked all layers. So in a different layer, a and sometimes without the symmetry. Otherwise, the detail can be mixed, at least in center areas like this one. We'll be using symmetry later on, though. Okay, so now that this one is placed, the rest is quite simple. We're just going to be selecting the different ones, 03 for this section, 06, for the symmetric one, And the other ones, you see me placing them in what I think it is the right orientation. But basically, it is just like this. We just go, select the different ones and just drag them and rotate them. Putting them in place, trying them to connect properly between one another and really the difficult areas are the ones under the eyes. We need to make the wrinkles of flow together with the rest of the eye that we modeled. So I'm going to quickly speed this up so that you guys can see a little bit of the progress. But as you can see, it doesn't have any complication whatsoever. Pretty simple process. Just click the correct one from the Atlas. Place it wherever it's supposed to go. Sometimes they feel super weird. They don't really seem to go there, but it is the right position. So just trust the Atlas, place them there, and then we will just do some adjustments. Okay, so now camera is on super speed mode, and this is a fun part to watch. So basically, same thing as we were just saying, getting those Alpha indicators, sorry, Atlas indicators, telling us which number to apply on which area and just going through covering the whole phase. The only thing you need to keep in mind here is connecting the Alphas to the neighbor Alpha, so there is no gap in between which looks weird. And if there is some gaps which can happen sometimes and you are seeing that I have some in the cheek bones, some in some other areas of the head, we're going to be covering those with an alpha that feels sort of like generic to us. So if we have I don't know, like a cheek alpha, which normally are quite simple, we can reduce that to fill the gaps from other areas. For the lips, that is why it's so useful to have a polygroup for the lower part of the lips and another one on the top so that we can actually go about this correctly. As you can see, still proves to be very tricky. Also, masking is essential for this part. But placed on the correct side, they can look quite nice. It's also important that you guys use morph target and layers so that you can triag the intensity of these XYZ passes because right now, as you can see, it is quite crispy. We want to change that later on. So we keep adding detail throughout the scope and throughout the rest of the head. This is step takes time. The scope, we don't want as much intensity, so I recommend you guys do it in a different layer because later on when we chan the intensity of the phase, it needs to match somehow with the school. So if you have them separated, it's going to work better. And as for the same approach, you'll have some Alphas indicated on the Atlas document, you just click and drag them there. And for the rest, use some random generic noise, it's going to do the job. Now that we have all the detail, we can go back with them standard and actually bring back some of those small wrinkles that we had. Just keep in mind, we cannot smooth anymore, so just do it very softly with low intensity and a brush that you can actually control nicely. So this is going to just bring that extra flavor, that extra nice reading, and that is a pass that you want to do on a different layer. Otherwise, it's going to look a little bit weird if we turn down the intensity for some and then lose that secondary detail we do on top. Okay. The head is looking quite complete. We're going to do some additional details. So we're going to add earring here. Now, let's hide this section, split it into a different polygroup and scale down this part for the pin of the ring. M. That's just an extra unit on the other side. And a small detail that brings some more flavor to the head. Make the rinkhlesw we're going to work a little bit on the ponytail on the elastic band so that is not just a cylinder. So from that base cylinder, remove the caps, then do either a panel loops or a panel loops will do actually. And then just adjust so that the clipping is not as much with the hair. Now we're going to add some more folds and details to the skinning, sorry, to a rubber band like this. So it feels a little bit more organic. That's going to be pretty much it for it. We don't need to do much extra on this. It's like a minor detail not going to be seen that much. Next thing we're going to do is just go again. This was a little brick from skin detailing. We're going to do the same thing we did with the face, but with the body so that everything feels detail, not just like a soft skin. Is to feel that it has some pores as well. So just do a selection of the area that we're going to be working on, which is visible, split it on a different sub tool so that we don't need to subdivide the full character and make the file too heavy. Now you just go, create a new layer and start adding any Alpha from the atlas of the face can work. But first, let's just do some wrinkles on the armpit, some skin folding, so it feels more realistic, not just like a doll and once that we have this ready, we are going to be jumping into the detailing, which is use the same stuff. So fairly easy. Actually, skin detailing is one of the more quick things to do, I would say. It pops up the detail quite nicely, and it is super easy, super fast to do and makes your work stand out a lot more. So yeah, basically, use the noise alpha from the Atlas one with a high frequency detail for small skin pores, and the one that we used on the neck, we're using it here on the armpit and also like a big bumpy alpha for the overall thing with low intensity and blurry result so that it feels like big bumps. So this is going to be it for this chapter and see you guys on Chapter 28. 29. 28-Final Polish: Hello, everybody, and welcome to Chapter 28. This is going to be the last chapter of the Hi Poli stage on where we are going to be adding the knives from one of our previous tutorials into the back panel that we created previously on Marvelous and zebras. So we're going to be placing one and two copies there just to add some more flavor to the character. The files will also be provided in your source file directory for the tutorial. And now we're just going to add a little bit more detail just to bring everything together with elegant seer. So we are going to be adding the useful process we used to do a few chapters back. So add the stitching lines, increase the thickness of the orders by masking them and applying an inflate, and then we're going to add some more seal lines, isolating those loops. We're going to do three probably. And we're just going to be isolating them in both belt loops. We're going to blur the mask and now with the inflate in negative value, we're going to get that extra detail. So that is looking a little bit better, but still make sure the curve is always smooth and nice so that it feels tight and well assembled. Looking fantastic. You guys have de tutorial of these knives if you're interested on fast track tutorals as well. It is covered on how to model them entirely in Zibros by using Cmdel In there, you will be seeing a lot more techniques on how to model with Cmdel inside bros. And now we're going to use some more details here on the pad so that it looks more refined. So some sem lines on the borders, adding a little bit of them standard and positive value around them. And just some more steps here and there to finish polishing all this stuff. We are adapting the Ubis so that they are straight in case we want to add some noise on this pattern. We're also going to be adding a little bit of detail on the gloves. We're going to first create the shape to then use it as a bullion We're going to put that here on the center. Just make it insert a little bit. Now we're going to be chamfering a little bit the exterior, so it looks nicer. Make sure it's, it's intersecting with the object all the way around. So it looks again, well placed and use the standard around to make it feel like it's inserting there. And we're also going to be doing here this section. Like a knuckle pad. And one on its finger. So now we can use police little bit. This one right here. We don't want them all to be super thick. Oh creating a secondary square box right there. We want the shape to be a little bit longer. I think it's going to be easier to work it out differently. So let's just grab those inflate. It's going to work nicer, I think, like this before I was just getting too distracted. Okay, so use a little bit more detail here with the dam standard, and we will have those ready. Okay, so this is it, guys. This is our high poly. It's looking quite nice, quite nice. In a few seconds, you're going to be seeing some final renders that we took after finishing the high poly. I think it's looking quite cool. I'm happy with the result. Hopefully, you guys are as well. Hopefully, as well, you guys enjoy the process. Hopefully, it was not too slow or too fast. And this is going to be on my part on the character tutorial. I'm just going to be covering the high poly for deadline reasons. And we have a new artist coming for the new game tutorial that you guys will be seeing after this one. He's going to do great. Hopefully you guys will enjoy as well. So that's been everything for the Tutorial. Hopefully, you guys have learned a lot and wish you guys the best in your careers. Bye bye.