Creating 3D Stylized Characters using maya, Zbrush & Marmoset Toolbag 4

1. Introduction Trailer: In this tutorial course, Florian Newman, a lead artist at Rapcat will be guiding you step by step through the process on how to create a stylized character from start to finish. Now, before we start, I want to note that this course has been greatly updated recently, adding various bonus chapters relating to sculpting, texturing and rigging to give you an even higher end quality result. This course will cover a large number of topics, but some of the biggest topics are as followed. Creating a blockout character in Maya, polishing our blockout character and turning it into a high pool using Maya and Zbrush, creating our final low poly in Maya. UV unwrapping, baking our counter in Mum's a Tolbag, texturing our counter in SelssPainter, and doing some final rigging and posing using Maximo and Maya. And finally, we will also be rendering the choater in Mom's a Tolbag. And as mentioned above, we have also added a great deal of bonus material throughout the existence of this course to give you an even higher end quality. The general takeaway of this course is that at the end, you will have an in depth knowledge on how to create fully stylized characters for games. This tutorial is mostly narrated in real time. However, the bonus chapters do not contain narration and are time lapsed. We have also included all the project files for this course. With a total of 22 plus hours of video content, I feel confident that at the end of this course, you will have to know on how to create high quality stylized characters. 2. 00 Maya Setup: Before we start the whole modeling process, let's go over marking menus, hot eas and shelves. I will give you all of those things, but I just want to explain to you what each and everything does. So let's start with the shelf. The first one is the project window. So in case you didn't already create the project, that's how you create one. Next one is setting a project if the project is already created and you want to set to it if you are on a different project right now. Next two is just Import export selected. The next three is deleting history, either of the selected asset of the whole scene or of the selected asset, but not deformer history. So let's say you have a lattice on there and you press this one and deletes all the history of the scene, but not the deformers. Next one is optimize synsze. I usually always press this after clearing the history because it just deletes unused notes like shaders that are not assigned, stuff like this. The next three is for pivots. So we have freezing the pivot, centering the pivot, and I'm resetting the pivot. This one converts an instanced object to a unique object. So in case you created an asset, and you mirrored it. So now if I work on this, you can see, it's instance, but if I press on that guy now, it's not instance anymore, and I can work on this one separately. Clip. Next one is just flipping the nomals. So if you extrude something, for example, the noms are flipped with this one, you can flip them again. This one changes the the cast and pull display changes how polygons get shaded on the whole scene on selected objects. So we can do things like showing thick outlines on the border so we can see if we have a hole somewhere, we can say soft heart or just hard edges, stuff like this. The next three are basically shortcuts for this one. So this one shows the standard edges. Let's start with Sphere, for example, if we have some hard edges in here, this one is the normal view, so you don't see a difference between hard and soft. This one is hard and soft, the differentiated, and this one only shows hard. It's pretty useful. Those guys triangulate the mesh and quadrangulate the mesh. Very useful if you have angons, for example, so if you have a games like this, you press triangulate, quadrangulate, and now it's quartz again. This one just opens the weird. This one is for Centol, so I'm using cell tools quite a bit. Let me explain how it works. Let's start from a cylinder, for example. Let's say you have a asset like this or like this, and you model it by hand, right, so it's a bit wonky. And now you would like to have a perfect curve along this line, like a perfect endpoint. You can just select some words and press on on the cent tool button, and then this will show up. Now, if you go to distribute between words and the opt box, we can choose what it turns so if you wanted an CP or CV curve. If you want a uniform, closest or whatever. If we go for a uniform, for example, it will try to make a curve and span out all the words on this curve regularly. So that's very useful. Also, if you're like, Okay, I want this to be pulled out a bit, you know. And now I want the whole thing to be super round, which is going, press this, have a nice round curve, and it's spanned out. So that's sent tools. This one is just the cleanup, so you can clean up your scene before calling it done, and this one is quick pipe, which is also very handy. Let's say we have and we need some Let's do it like this. We created this acid now, and now we want inside padding here. We can just press crit pipe, creates this pipe for us, can change radius and stuff like this. And now the ray looks like we have this insert with a different acid in there. So very useful for padding pipes and stuff like this. Okay, so that's the shelves. So let's now go over some marking menus that I'm using. First one is when I press down S. This one shows up. It's the one I use for modeling. So in the center, we have merge to center. We have merge here, collapse here, that's very standard things. Combine separate on the side, so we can combine the separate measures. Bridgeable or duplicate the face. So very standard stuff. Here I have some custom stuff. So this allows us to select either UV boards high edge soft edges or board edges. So let's stray this one out as well because that's very useful if you created a model already, where you are happy with the um, happy with the shading of everything. Let's say, so we created this model. Those guys should be hard. And now we decide on beveling all hard edges. Normally, you would need to go in and select everything, but with this script, you can just select all of it and select hard and only the hard stuff gets selected. And then we can just bevel the hard stuff in this case. Same works with soft. So if you're like, Okay, all the software just works like this. Same works for holes. If we have a hole somewhere, select border, we just get the hole. So very useful. Next thing is just bullons, just quick access for bulls, transform components, also very standard stuff. Lattice, very standard stuff. Curve tools to create curves. Clusters clusters just generate a point in the center of things you select. I select Those guys, and say cluster. Then in the center of those guys, it creates this cluster for me. And that's very handy because I can snip to it. So if I take an edge, I can actually snip to it. So I use this a lot if I want to have a center of something to snap points to it or curve points or whatever. Snap together is a very useful tool. So let's say this is randomly rotated. We don't know the rotations anymore because it's frozen. And now we need to put an acid exactly here, like a screw or something. So let's just create a cylinder for now, let's say this hour screw. And instead of just moving it like this and eyeballing and everything, you can just go to snap together, press on this guy, press on this guy, press Enter, and it's perfectly aligned. So that's snap together. Select every Nth tool. That's quite useful if you want to select every second or a referred ring like H on a ring selection. You just select every Nth and it just selects a referred in this case or every second. So very useful if you want to quick select stuff like this. But for this one, you need to have the Maya Bonus tools installed. Which one you will just get on the out of this website. You can just put in Maya bonus tools and download the one for the version for your Maya very easy to get. Three point to three point is pretty similar to snap together. It's another snapping tool. Let's say I have this asset three times. And this one has UVs, and now I'm like, Okay, I want to not UV those two again because the same asset, but I don't know the rotations and everything because I froze it already. What you can do duplicate the one you're fine with, select three at three words. Select the same three words here, and press three point to three point, as you can see. It's exactly on top of each other now. So you can just move assets onto each other by selecting words. And the last one is pake pivot. So as we said, we lost our rotation. Now it's pretty hard to work with. But what we can do is set our pivot to stuff like this, and then we can bake it. And as we can see the rotations are back now of this pivot so if we go to zero, for example, it's straight again. So that's baked pivot. Very useful if you want to mirror stuff as well, because this is baked down. So now we can mirror around axis again. Okay, so that's this one. Now you already saw this one. That's just my duplicate menu. Super easy. If we go down, it just resets the pivot to the center. So let's say that I want to mirror it on the side, so I just reset the pivot, and then I just mirror on X on C on X on Y. So you can just very easy to just mirror stuff fast. Just mirrors around the Xs. Let's keep on. Next thing is the UV menu. Let's go into the UV editor here. Let's take a look. Um, let's start with the first thing that I have here. It's planar mapping. It does what it says. It's just planar maps. And I you can always do you can also do camera, for example, it's just the rotation of the camera now. So very useful. Then let's go on what else we have cut. So let's select some edges and cut it. For example, like this, let's cut it like this and this. So now we have some cuts. Then we can unfold it, for example. Then we can move in so much just combining them, so let's say we want to combine those two, so we can just move in so. We can select because it's now rotate, we can select to, say orient shells to etch and it's just oriented to those two cells. We can say layout, so it just lays it out without zero to one space. In case it's a little crooked, let's say, our mesh looks a bit like this. We can say straight both and it just straightens everything. Or if this one is like this and we want to move it to this side, we can go to Align UVs to the right or to the left or up and down. So that's the lgn tool. And the last one is just the nomalenfd. Okay, so that's the UV tool. The next thing we're going to look at is sent tools again, but now it's a menu, so it's faster for us. Okay, that's it is. And let's look at the sent tools again. But now instead of opening the menu, I mean, you have to open that's very important. You have to open the menu once when you open Maya, but then you can close it, so it's running in the background, basically. So instead of having the menu open, we can just open the marking menu and say, sing uniform, sing uniform with curve, St. Close, St. Clause with curve. Uniform I already showed you, that's the drag. This uniform I already showed you. Closest is pretty much the same, but now it doesn't span them out anymore. So now, if it's like this, Oh, shouldn't at least spin. See, maybe because I changed it here. Yeah, I changed it here. Yeah, if we use closest, it sticks to the closest. So it's not spinning them out. Yeah, it's not spinning them out anymore. Like with uniform where it's spinning them out. You can see the difference pretty clear here. So that's closest, and that's uniform. Okay, the next thing we can do is keeping the curve, if we say send uniform with curve. It creates a locator on every word you selected. We can press on the locator and still move it and alter our curve like this now. And this stays as long as we don't clearly historical. So that's very useful as well. If you want to align the curve with something now. And then if we're happy with this So, we're happy like this then we can always press clear the history of everything, and it's gone. We have meg. So that's this menu. Okay, now let's take a look at how we can set those marking menus up. So you can just copy mine. I'm going to give it to you. Or you just create them yourself by going into the marking menu Editor. Then this window shows up, then you can create marking menu. You can just middle mouse button drag stuff in here. Or you edit it and type your own code in here. So we can just set up wherever we want it. We can call this then, in this case, test. You can save it. Now it should show up here. Okay. What we can do now is say, use marking menu in the hot key editor. We have to save this one. Now we can open the hot key editor. H. Which looks like this. And we can find the marking menus under other items, use the marking menus, and it should be here. So now if we want to set this up to Q, for example, it tells us, Okay, these marking rings, this is currently used already. W, you can try whatever. Yeah. And yeah, now it's set to Q. If we save this one and try Ka or Q and press, our marking menush up. So yeah, that's how setting up marking is works. Now, while we're in the hot theater, let's take a look at the hot keys. If you want to assign a hot key to something, the easiest way to do it is if you know what the current hot key is, or if you know what the hot key is called. So for example, if you want to change the hotkey for Extrude, I know that the application command must be something with X extrude. So we can just type in Extrude. We can find, Edit mesh extrude, we can just assign a hotkey. Same if we know what the hotkey for something is. So let's say I know I assign the hot key to Old one, for example, for the low quality display. So we can find it like this as well, and then assign hotkey. So those are the two ways how you can find hot keys that already exist and reassign stuff. The other thing is, if we go to custom scripts, we can create our own hot keys for things that are not in the system. For example, I have on here, it just extrudes and merges. So it performs an extrusion and merges, and I put it to old g in that case. So that's very useful for stuff like this. Let's say we have this done, and I want to close this hole with a point, I just press old eggs and I get this. So it's the same as going fill poke. But yeah, it's just one thing. Also, it's useful when you can't use bridge because bridge only works when you have at least four edges open. Like let's say, here I can't really I mean, here I still can't bridge, but let's see here I can't bridge. When I do bridge, it just says you have an unequal amount to bridge. So here, it's very useful to just use this open delete edge. Okay. That's pretty much it of how to set up hot keys, marking menus and shelves. 3. 01 Image Planes: Let's start by setting the image planes up. First of all, we want to create a cube that represents the size of our character. So we have something to work with when creating image plane. So let's start by creating a cube. We want to make it 170 centimeters tall, body wide body deep. Then let's select those edges and connect them, so we know where the sympls. Now, let's snap the pivot down to the bottom, and by rolling down X, we can snap it to the grid. So now it's grounded. Okay. So now let's create a new camera. Let's call this one. Wrap. Let's go to few Image pra input image, and let's just select our image pan. Let's go to the attribute or and change the alpha bit so we can see what we're working with. And then let's just before we try to match it, let's offset it a bit. So this image is actually in the center, so let's offset it a bit, like this. Now let's try to get our books lined up with the character. So the first thing I notice is that our focal length might not match because the concept looks very flat. So let's select the camera and let's change the focal length to let's try, for example. See, let's see it looks way better already. Like, the ground plan fits more to how the character actually stands right now. Let's see. Yeah, maybe a bit more 57 maybe. Yeah, looks good. Let's make it a bit smaller. Okay, it looks cool. And this is not the final image plane anyway. We can always change the image plane when we are actually creating the blockout. But let's keep it for now. Let's click on this little button up here next to the camera so it's locked, and we don't accidentally move our camera. Then let's create some layers and groups so we don't already clutter the scene, this one is called size. Que, for example. Then let's put both of them in our f group, and let's create two layers so we can hide them individually. So this one would be the size layer. And this one would be the f layer. And with that being set up, let's start creating the Brocad 4. 02 Rough Blockout: Now that everything is set up, let's start by blocking out the basic character shapes. Let's start by duplicating this cube. Delete all but one side here. Let's hide our cube for now and let's remove the duplicate. Okay, let's make this a bit smaller. Let's look for our camera again. Now, let's see. We want to move this in a bit so it matches the center. Out a bit, and now let's just create like a rough circle here. It's mirror mirror in the center. Hey, best way to work is taking a split screen, putting the ref in here, and the perspective in here. For getting closer, we can select the camera, go to the attribute editor and zoom in closer to this the pain and zoom options. And now we can just work on this side and see what happens in the set. So what we want to do is get as close as possible to the dimensions of our character. So we want to move this one in I want to know with all of this in. Exactly. This is a lot of just tweaking and moving vertices around till you like the shape. There. Let's extend this down a bit. Again, let's make this smaller. Same here, going no bit here. Let's extrude it down a bit again. And then once more, let's move those out again. Those to the front to the back out here. Lo soft check but we don't have those heartedges. Okay. I reckon these should be moved slightly inwards. I also felt this should be moved further inwards. C. Let's stroke this up again a bit to get this out the parting to pull over. Yeah, as you can see, doesn't fit perfectly. So I guess this needs to get further in. And this is a lot of tweaking a lot of times you do stuff that you redo and it's just tweaking until you like the shape until it kind of matches your concept. Let's see. All of this should look closer. All of this as well. It's two round, I guess. Guys. A little further, I guess. So we want to do two things in this stage. You want to it as close as possible to the concept, but also try to get a shape that resembles what we want to do in every angle, not just in the concept lingua. Because, of course, we can't know what it looks from either side. So that's just guessing and yeah, best judgment we can do. Little odd maybe. And Okay. Okay. Then here and here. You can also assign material to all of this. Let's call this one. Both of them. And let's call it white material. Let's make it white. Good. Okay, let's leave this one now, and let's create a blocked for the arm, like a rough one. Okay. Get some more edges in here. This round. It's roughly here, I would say. I have this cut move. And okay. Also make this bite so it can see go down. Okay. Okay, then let's just extrude this outwards a bit. Hey. Let's rotate those guys down a bit so they match better with the concept. And we want to make this edge look to the piece in front. So let's see. We can also get in here and use the words in here to match it up. Okay, cool. Move this one out a bit. It should be way bigger in the front here. Maybe like this. Okay, cool. Now let's add a up here. Let's transform it out a bit and move it back a bit. Let's make those two grains colour as well. We can also mirror this sleeve on the other side. Let's see, we want to rotate this a bit, I guess. Again, this is the first step is doing a very, very rough blockout. And the second step is then merging everything together, make it more detailed. So we can actually finalize the whole thing before we send it to Cebus. Okay, let's get into this one again. Let's. Let's add some edges around here we want to move out the shoulder a bit here, so we want to have it, maybe roughly here. See where we go. Snip goes. Gos for now. Maybe add one to appear and make it a bit smaller. It's a bit to the front, I would say. That's also move this to the front, I would say. Also get in more loops here, more pulleys. We have something to work with. This mesh doesn't need to be, super clean already, but just what I have a rough resemblance of the silhoutte we've seen in the concept, basically. Okay. I guess it should be a little higher up and further down. Okay. Stop stairs a little too high, move them down a bit. Yeah, I guess this should be fine for now. Let's make sure this is in the center so that select those edges moves into the zero and the X. Okay. Okay, next thing you want to do is the legs. So let's just start with the cube again. Let's get it position. Let's get it up a bit. And then it's just move those edges down a bit. And let's just try to find the shape or find the position of the legs. Let's make them white as well. Also let's mirror them so we can see it better. So that's it humor loops, and let's circlify it and it's round. Let's get some loops in L one for the knee at least for now. It's a little thinner here. We want to wide here a bit, move it a bit exactly down. Then let's ex shoote this up. Let's isolate those two guys, and let's get rid of these faces here and merge those guys or move those guys to the center. Let's take this edge here, move it out. Let's make it all soft again. Here, let's leave it like this for now. We should move this edge up a bit, I would say. Those edges maybe a bit inwards, looks a bit strange. Less a bit to the front. There was a bit to the back. So we have this knee here. And also let's move tos a bit to the back. Maybe not this much, but a little bit to the back some of those ds in so it just takes outwards. Okay. Not too bad. Let's rotate those a bit. Let's add a loop around here. Let's a little bit. Let's move it a bit. Okay, let's get one more edge in the center here. Let's add it for this one as well, and then let's move it to the center. Let's work with this one as well at. So I want to move those around a bit or maybe just select those and say, did for. That's okay. Let's add some loops here. Let's also add some edges here. Okay. Then let's continue with the legs. So let's move our concept down a bit here. And maybe let's for this one. Fill this face in here and delete the rest. So we'll have something to start off with. Make it a bit smaller, and let's just extra it down. Let's invert it, so start backwards shaded, and let's also move this into position. What we can do immediately is give this new shade up. Let's call this one. Black, wet. Let's make it dark. And let's duplicate to the other side as well. Let's move all of this a bit further. Beat like this. Yeah, let's direct this. Okay, let's move this up a bit. Let's move those three guys down. And then let's take all of them here, except the back ones, and move them to the front. Like extrude them to the front. Okay, let's turn them out a bit. S. We've got to select those guys, move them down. As those guys, we got to move them down. This one we can just this one. Okay. Okay. The head, we can't really 100% mitrif the concept here, like the rotation because it would look strange for how we mirror it, but we can, roughly recreate what dish look like. So we want to move those way down. And together here, so they're height. We're going to collapse those guys. Et's move this one back. We'll be edge loop in here. Move it out a bit like this, maybe. Let's close it up. Let's see. We want to add a dope in here, move it down a bit. We want to move all of this down a bit more, I would say. It's loops in here. So we have more to work with. Okay, we want to have this little step in here as well. So let's do something like this. Okay. So we should sky wide up here. But again, this is very rough still, yeah get all the shapes, roughly there before we start detailing stuff. This, it's not too bad for now. Let's select all let's rotate them ever so slightly, move them in a bit, maybe. But generally, I think we are kind of there's we make it. Let's maybe move this back a bit. Let's make it a bit bit maybe. Maybe that's also slide those guys a little bit up so we have more volume here. But yeah, let's leave. Let's leave them for now, like this. Okay. Let's move the camera up a bit. And let's continue with the arms. Let's do it similar to what we did to the feet. So let's just fill this and extract this. So we have a separate mesio. Let's make it perfectly round by circlizing it, and then let's just extrude it. For this, it's we can't really follow the concept that much because the concept test is bend in the arm, and this one is holding onto something, but we want the very natural pause. So we're just going to use our best judgment here. Um, extrude this in a bit. Okay. Let's make this a bit smaller here. Those two. We'll also set a different material onto this. Let's call this skim material. Yeah, something like this. All right. Lift them a treadle. Hey, cool. My you should watch this a bit smaller. Maybe not. Let's see. Okay. Um, so that's move the down. Yeah, roughly like this I would say. Let's maybe move it a bit to the front. Okay, cool. So now to create the hand itself, let's just pin this again, duplicate it and everything except the face. And let's make a square out of it by between those two, let's just extrap this one. So that's the hand itself, let's say. Si those down. Very rough just now to get the shapes. See, maybe we should ng this as well a bit more. Okay, then let's just create for now and use this as our basis for freedom. Let's skate it up a bit. Now, let's see, we want to have a little angle here, then straight and then another angle here. Let's scale it down. Then we might want to angle it a bit like this. Okay, let's see let's duplicate this. Let's move it here. Again, and again, let's scale this last one down most. Let's hold up a little higher. There, something like this could work. Pull, and let's move those words out a bit. Let's add a age pee. Car up a bit, as well. Now for the thumb. This one again, rotate it slightly. Move it somewhat into place. Let's see. Smaller, I guess. Yeah, maybe somewhere here, and that's the issue here. Another one here and let's move this out a bit. Again, this can be very rough and we don't really care about pot, we just want to add the general silhouette of the hind right now. Let's duplicate those together side as well. Let's put the skin shade on all of them. Let's see. Yeah, let's give them for now like this. Now that I, let's add a loopia. We're losing a bit of volume here, so let's add a loopia and add some volume Binia. Those guys should wait. Xxs let's prove them out a bit more. Okay, cool. And let's add this. Let's just create a cylinder. Move it roughly into place. So it's somewhere here, I guess. Scale it up. Let's change it to maybe 12 subdivisions on the axis. And let's just roughly build it. That's good enough already for the blockout. Let's give this new material. Let's call this one. Red, wet. Okay. Cool. Let's also give those hands this material because the gloves, they will be red at the end. Cool. Next thing, I would say, let's work on the head. Same procedure as before. Let's start from a box. Let's move it to the center. X axis, and let's just start blocking out the head. Andy's head is slightly angled, so we can't really go for it, but let's see where we can go. Let's half of it, so we can work mirror it and just start moving stuff into place. Let's at the npm. At the stun Okay. Let's add it on. Those inside face that I created and I extrude it down. So flow which is going to the rough shade right before we add details. So far so good. I some lectures here. So we have more to work with. It's here for the nose. This will be very rough, though. It's just for us, so we have something to see while we work on the rest of the character, because the majority of this will be done in Zbrush. You could also create the whole head in brush if you want to. I just prefer doing it like this because it's easy and fast, and we can see the proportions while I work on other parts of the model. To round right now? Let's leave it for now. And let's start working on the headbod. They look very round, so maybe, let's just start from a box again. But them up. Also, they are angled now, so we might not want to match them completely with the concept. But let's just roughly move them into the space where they should be. Roughly like this, I guess, but let's not rotate over an hour, guys. Yeah, something like this. Spittle those edges. Again, let's duplicate it everything except this one phase, so we can so we have something to work with. And let's do this piece here. Looks like something like this, I would say. Again, this can be very rough for now. A bit tire maybe and flat. And wider on top, Is Let's do all wider. Let's cut it somewhere here. Hello. Let's add a loop here. Let's put a lattice on those two guys on those two paces with one height division so we can select those two outer points and move this in. May you like this. Let's make those red. Let's get those two black. Cool. Okay, then let's duplicate this again. Let's move this in. And let's transform components on this. So we can select this edge loop here and use quick pipe on it. We just need six subdivisions and we'll make it a lot smaller. Let's make this 1 gray. Great material, and that's mirror the s as well. I think we should select both of those guys and rotate them out a bit like this movie. Let's see, maybe that's too much like rotating slightly out. So this one connects with this one if we just extend it. We can also extract this face and scale this down a bit and make it gray. And then row those two. A Okay, I would say let's leave this as phenom. We can also select all of this, put it in a group and call it Glock out group, and delete the rest. We don't optimize inside this fine. Cool. Okay, so let's extrude this inwards once, I would say, and then let the rope and transform this. Okay, now let's select those guys and grow the selection color in black, and let's soften all the inside. So it looks like we're padding on this. Do you know this again. Let's work a bit on this again. So we want to extrude it inwards a bit and then downwards and inwards. Let's soften those edges to make sure those edges are exactly on the X axis. Okay, cool. Then let's continue with maybe a metal detector. So let's again, move the camera a bit with this painting some mating. And let's start. Let's start by creating cylinder. Let's cut it up. Move it roughly into place here. So that's somewhere. Here, I would say Well, it needs to be further here so she can actually touch it. Must be somewhere here, I would say, let's see. Yeah, looks, looks about right, I would say. So let's move it here. Let's skate it a bit, so matches our concept better. Move in this concept. Cool. Then let's delete. Let's delete those faces on the inside, and let's extrude it inwards once. So we have some thickness to this ring. Then let's add this connection by just duplicating it again, selecting those two faces here, liting the rest and then bridging it. So we have this connection piece here. Looks like we have to rotate it so it matches. This may But it will not match with our arm, then let's maybe align it with our arm. So it makes more sense. Let's keep it like this one. Let's see when we add the bar, how it looks like. Okay. So let's duplicate this phase. But it's matching the face connect this Bb so we have a nice square face in the center. Okay, let's see. We want to extrude this up and move it back a bit. Yeah, this fits roughly. Then let's slide this down. Okay. Now we want to slide this face down a bit and extrude it like this. Middle extrude it like this. And we will need to go roughly here, I would say. Then let's flatten this. This looks roughly, right? Okay. Now, let's select all the edges, like the dgops here and bevlid ones, so we have a here. Select all the edges and belt, so we have a round mesh. Make those gals hard again. So let's make this one red. Well, it looks like it's not perfectly round. Let's align our pivot with this face, and then let's sk together a bit. We can also select the adjacent use circle ize and make them perfectly round. But at the end, we will use our pipe anyway to make a perfectly round bar. Yeah, this looks good for now because we're doing the rough blockade anyway. Cool. So let's add this monitor here. Let's just add a cube. You can also use snap together to snap an acid onto another. That's perfectly snapped onto this guy, so we know the rotations. So we can just scale this up and move it into place. So the connection is down here on the concept, so we might want to add it roughly here maybe. It's a bit too white. Maybe like this. Hey, let's make this one. Let's make those gray as well. Let's move all of this into our poker cop. Okay, cool. Then let's continue with the little pat up there. Let's see. Let's start from a sphere this time because I guess the inner piece is a seer. So let's just start with a sphere. Scale it up a bit, and let's try to move it into a position that would make sense like a towering right above a face somewhere around here, I guess. Mount. Maybe fill it up a bit. Now, let's try to rotate it a bit so it matches the rotation of the gyapia. Something like this, maybe hoop. We are something like this looks good. Okay, so let's make this one White. Also, a good practice is let's create a cube. Let's move it exactly here. And by selecting the cube, then the sphere, we get the transforms and the rotation values of the sphere. And by tapping through the rotations, we have the same rotation on our sphere. Now when we snap it exactly to the centre and in the loupe, we always know the rotation if you want to align our pivot with something. Cool. Okay, then let's say this is the centerpiece. Now we need some side pieces, so we can already use this sphere duplicate it and split it up like this, maybe just one phase for now, so we can see better what's going on. Something like this, maybe? No, that's, let's add a bend to this. Mm. Also I would say that's tulips here. So we can add a bend like this, as well. Here, let's make this white. Let's add to loops here and use added edge loop on them so the bends more. Now let's move the pivot to this position and we can mirror it along the x axis. Maybe let's move them in further because this one looks like it's out too much down a bit. Yeah, maybe like this. Okay. Then let's move it back a bit as well. Now that you moved it in. Was it looks like those guys should be out further? Okay, cool. Now, let's add this pipe here. Let's duplicate this group for this one. Move it into position. Scale it up a bit. This because now we want to align these edges here with the pipe basically because we want to use quick pipe on those edges. So let's line this up roughly. So back a bit more. Let's scale it up a bit more. Now let's add. Let's add a babble on those two guys. So we have a nice round surface here, and then we want to add a babble on those two guys, so it's nice and round up here. And now that this is nice and round, we can select those edges here. And use quick pipe on this. Only six hide segments, bit bigger. Repress noFF nothing selected, and we use quick pipe again, it deletes the useless notes. Let's see. Looks good for now, I would say. Yeah, let's keep it for now. Let's see how it looks when we have the rest done as well. The same method we're going to do this guy, so we're going to duplicate it, delete everything except this one face. At the loop exactly where this pipe is. Add another look in the center. Now we're going to extrude this out a bit, extrude it back a bit. And I guess back like this as well. Put down. Maybe something. This, and let's beverage this as well again. And we want to have this edge nice round as well so we can extrude those two guys, for example. We align the pivot with this phase and then this one. Okay, so now we can seed this edge loop again here and use pipe on this probably six again and a little bigger. That's usually again, delete thing we don't need and make this 1 gray. And now let's align the pivot with this box. Align the pivot. With one of those faces. So now we can mirror it on the acetic. Oh, we need to break it down, so bake the pivot and then mirror it. Okay, cool. We're getting there. Then it looks like I guess this is too long, get some of this short. Then I guess we need this thing in the center here so it looks like a cylinder, so let's create a cylinder. Let's again, select the sphere and let's get through the rotation loads. So it's rotated the same way as sphere. Let's scale it up a bit and move it drougly into position. It's just ext Okay. Let's make this black. That's it for this one. Now, let's add those cubes up here. So let's just delete. Duplicate this cube again. Move it down a bit. Rotate it a bit. So the rotations the same. Delete all but don't phase again. We need to move this. Let's up here. I can't really freeze it. Okay. D. Let's move it here. Okay. Like this maybe, then we want to add this edge here. So it's more like a knife shape, maybe. And then let's extrude it a bit. Lip the faces. Let's make it white. Let's align give it up here again and then mirror it on the x axis. It looks like they're matching up. Great. Then let's add those two guys in the frontier. I guess enough for the rough bucket of this guy. For the frontier, let's add a sphere. Well, let's just duplicate this sphere, rotate it a bit. So matches roughly where it looks like the point where this guy looks at. So let's scale this down, move it. So roughly like this. Let's make this one black. Should be roughly the size that we want. Cool. Let's duplicate it again. Let's move it to this guy, but we're going to scale it down all. In fact, let's work with the cube. Let's duplicate this cube down. Yeah, let's work out this cube and make sure it's centered. Roughly the size. Let's fit it all, but it's one phase here. Let's add a face here so we can make it move around. Then let's extrude it in. Get the face again. I guess this is to be further out. Let's move it out with transfer components. Let's add a bubble on those guys, so it's rounder. Let's smooth. Let's add this to this one as well. Maybe it's too wide, so let's maybe we just need to move it up a bit. So it fits. Look out Ba. Okay, cool. Okay, so let's also put this into a lookout group. And what are we missing? The only thing we are missing is, let's see. We're missing this bag here. We're missing the hair. And I think on the back, we're missing this piece. So let's maybe start with the bag. Let's do this very roughly, so we're going to duplicate this jacket, everything but those faces. Let's see then let's see how wide you want to have this one, maybe. Let's start with this can always change it. So let's extrude this out a bit, let's see. Then let's make those brown. Let's make a new shader here. Let's call it brown material. Let's make it brown. Cool. You need to extrude this way more, I would serve you. But now we can already see that this doesn't line up correctly, so it's changed as a quit. So the whole hop piece doesn't, right? So, let's move this up. Let's move those kinds up as well a bit. It's hard to see this right now the concept. And let's also get this one out of it. I guess this one out of bit as well. This looks better already. Then let's add my loops so one here, one here. And let's use central to make this round. By pressing K, I can open my central menu and make this round. Oop. Okay. Also it. Let's add. Yeah. Yeah, let's add a pebble down here. C make this small round. I don't want to add too many polygons for now, in case we have to change stuff. But I think this already blocks in the volume. Pretty good. Maybe it's too big. Let's see if we want to make it shorter maybe. Let's add it strap on this guy. Okay. Let's leave this one on. And then let's add this back piece. S. Okay, that's basically a box, so let's just add a cube. We're roughly in that position here. Maybe we die. Let's see. I just want to add this for now, so we have it there, but we will define it further when we do the more defined blockot. So for now, we can really just keep it as a cube. Cool. So all that's completely missing is the here for now, so let's continue with them. Okay. So what we want to do is we have two pieces, we have the piece on the head. It's helpful, then we have this back piece. So let's start with the back piece, I would say. This will be very rough as well, because the majority will be done later. Just want to have a rough understanding of how the shapes will look. So we want to have something along those lines here. That's it. Yeah, that's it. So dopa around this. And that's at the Lupia. So we can add some volume to this. Exactly. Let's add two more tumor H luxeum. So we have a edge to work with here as well. Let's make this black for now. Again, this will be very rough just to have something here. The majority of this will be done later on. We define the individual strengths either in the hypolyhase or in the rough blocked fact. I tend to do it in the hypolyphase because then I can already, work on the strengths themselves, and don't need to worry about blocking them out first. I just organically move them around. Okay Okay. So let's keep the big piece like this, maybe, already. Again, this is just might have nothing to do with what we have later. Just want to have something there right now. Then let's add the piece on the head. Let's just duplicate the head. Let's select some faces that we want to keep for this the rest. Transform it out of it, make it black and mirror it. Let's make sure this edge is still the serial actaxs. Let's see we don't need this, I guess. One of the gut. Also, this is just to have some representation. Right now, it might change a lot either in the hypoliphase or rough in the more detailed blocking phase. So we want to have them go around the all of this. Let's just select those edges here. Let's extrude them inwards. Okay. Okay. Let's move all of this into a blockout group, so it's nice and clean. And yeah, I would say that's it for the rough blockout phase. In the next one, we will continue with each piece and make it more defined, and a basically the final silhouete we want to have in our ipolym. 5. 03 Detailed Blockout: Now that our rough blockade is basically done, we can start by creating a more detailed version of each piece that we're going to use for the creation of our hypolaor. So let's start with something easier let's start with the bit. If we look at the concept again, we have all the instead we just need to define them. So let's start with the centerpiece, and let's add those three eyes. But that we're just going to use spheres. And let's move them into place. Let's rotate them slightly. Let's squish them a bit. Let's move them roughly into place. Let's give it the black material. Now we want to rotate them around the center. To do that, we're going to create deleted word. So we have a flat surface, then we're going to poke it, so we have a center word again. Selecting both, we can align the pivot to the center here, and pool it down D. We can align it to one of those faces, snap it, and then bake it. Make the pivot. So now the pivot of this is baked. As you can see, if we rotate this, only the Xx changes in the channel box. What we can do is set X to zero, delete duplicated ones, put in hundred 20, again, under 20, and then select all three of them and rotate them. So this one is centered. The bottom one is centered. Like this. Okay. Looks cool. Okay, let's continue with that piece. It looks like this should follow exactly this curve. So what we can do to try this is duplicate it, center a pivot, scale it up. And as we can see, we need to move this closer. Here it's already Nice, I would say, we just need to move those words closer. Yeah, let's do this. It's all good. We can also add a bevel on this guy. It looks good that's the big sphere. Let's take a look again. Let's combine those act here. Let's add one here. Or maybe let's get rid of this one and use edge flow move it's companion. Okay, so we should have a nice round surface here. Okay, cool. Now for that piece on top, we want to also create this. So let's extrude this inwards a bit. Yes. Then let's extrude it outwards and inwards a bit. Let's make it white. Okay. And let's add this thing in the front. So let's start with a cylinder. To make sure it's in the center, we can connect those ones. So we have a centre here and snap it here. We just need to rotate it in place. If we move it all the way back, we can also check again if we actually align with the face. This So a little bit more like this. Okay, cool. Then maybe let's change it to only 12 phases so it's easier to work with. Let's kill it up to the size and the concept. So products like this. Maybe a bit smaller. It should be gray. And the center we're gonna do like So also let's create another edge here. Let's select these faces and move them a bit back. So we have some depth here. Okay, it looks cool. This piece should be fine at the end. We just need to add some supports and smooth it to have the hipoly. Cool. Then let's start with those guys. They look like they are not just bend like this, they are also bend like this upwards. So we have another edge here, maybe. But I guess the easiest way to create the shape is if we start from mispa again. We move it to actually go to space, scale it up. We can also select again the cube and transform duplicate our transform lots by taping through them. Let's change this to 12 maybe. Skate it up and then sqaches down, so we have roughly the shape that we want. Also, we have to compare it always with our concept here. So if we start with something like this, some of this speck. Movie. That could work. So let's select those and those guys bridge them. Let's go I'm heading for both sides. Okay, this looks cool. Let's do it like this. And in the front. What let's make it wide first. Let's move all of this back just a bit. Let's combine those so we don't have so many edges here. This looks good, I would say. Maybe it's still too big, so let's squash it down a bit. Maybe moving in a bit. L maybe it looks cool. It looks like it has a slight bend altogether, so let's add a slight bend here. Let's make it a little bit more than what we have, and then let's use a Bible on it. So we can create multiple edges in there already. That also means we need to scale those up just a bit. And then use A dig concept. Cool. For the brand, I think we should move some of those edges in a bit. Let's select some of them, slide them in. Just a bit. Let's select some words here and let's use our sent tools again to span them. Yeah, this looks good. Maybe more in what here. So yeah. Let's use digital Bon guys on top, those guys. Okay, it looks good. Now let's delete the big piece, so we can just duplicate it backwards. Let's just snap the pivot to one of those points and duplicate by the set axis, let's combine this and align the pivot again to one of those places here and bake it. It looks good. Now we can mir it C. This guy still looks cool. I guess it's too long, so let's move it a bit ick. Let's make things a bit shorter. Exactly. See, this guy might be a little too thick, so let's make it a little bit thinner. It also looks like we have small little things up here, so let's create them as well. I guess it's just cubes for no. See, small cubes. Let's great them up a bit. Moved on. So one here. Let's see what can we do with them so they look not just like sphere like cube. We could do something like this. Or let's see if we just make it asymmetrical like this. I could also work. Yeah, let's do it like this. T and then let's duplicate it. Again, let's align the pivot. Be it, that's fine. S and that's what we back. So we have the second one Okay. And for the connection, I would say, this looks a little bit too much Maybe let's get rid of this completely of this line. For the connection, I would say let's just a cylinder. So let's create a cylinder. It like 66 edges. And easy way to snap this to the surface now is to use the snap together tool. So we can just snap things together. We can find it in this menu here. Let's ke a little bit. Let's just move it here. Let's make those guys soft. Let's make it white as well. And to connect it to this plate, we can just do like a spherical piece where it can rotate around. So let's just use a sphere for now, let's move it here. Let's make it 12 by 12 as well. Let's scale it down a bit. And let's just say we would use a sphere like this where it rotates around. This should be movable. What's a bit more? So like this, maybe. Yeah, let's just extend this. Okay, cool. Now, let's snap pivot to this guy. Let's duplicate it. Snip pivot and it should work ready. I guess we just either we make this strain or less I'm round. Let's see what like this for now. Let's make those guy gray though. Okay, cool. And let's select them. Let's align the pivot here, and again, first D, then then big. Okay. And then we can mirror Cool. Maybe we should make this all a bit smaller. So let's let's pivot to this pace. Edge here, works like a charm. This phase, and let's move it in a bit. So this piece is not that long. Yeah. Same here. Okay, cool. Now let's work on those guys. I guess we're gonna do the same at the end. We just want to make sure this is all ally, and then let's just add the same kind of machines to this. So yeah, let's create a cylinder again. Six divisions should be enough. Let's snap together. Snap it in. Make it small again. Let's extend it. It soft and gray. Let's also create the land after that, ice, move it to the center here, sickly. Let's make it gray as well. And this one we can maybe make it bigger. Let's also do it it hehlps. B. Okay, cool. So the candidates. It's not vivid bake it. Not the wrong axis. Duplicated On the Y axis. Okay. So the only piece missing is the spec piece here, and we don't actually have a reference for it, so let's just just create a dog, like a little dog. So I would say let's extrude it a bit like this going. Maybe extrude it a bit more. Let's see. Maybe move the whole thing in. I'd say the rotation is a bit off compared to our concept, so let's rotate it a bit more let's just should be the correct axis. Just make sure it looks good, yeah like this, I guess. This guy we can really put a jam on maybe not that big. Okay, but I would say that's all the pieces we need for that guy. So let's put all of this in our Loot group again. And yeah, that's fine for now. And the next time we want to touch this piece is when we create the hypol of it. 6. 04 Metal Detector Blockout: For the next detailed blockout, let's do the next hard surface piece that we have here. Let's do the mine dictum. Let's hide the rest for now so we can concentrate on this guy. Let's move our camera in place with the pan and Zombiu. Let's see. Okay, if we hide the blocked for now, it looks like we have this round piece, which should be basically what we have. Anyway, this guy looks like it's not rotated correctly, but we checked before, and we need to do it like this so it matches our character. So let's leave this like this, but it looks like it has some cylinders here that move apart, and then we have this big part in the center. So maybe let's start with that part in the center. So the easiest way to create a nice perfume is if we take the mesh we already have, let's put a nice on this nice dance stone, so it's really nice and round. Let's just select one of those edges here and let's use the quick pipe. Creates us a nice, perfectly even pipe. We just need to scale it up a bit. And move it exactly where you want it. So let's align there. Leave it, and let's just move it to the very center of this piece. And then let's delete the other one. Okay. Let's press quick pipe again so that it's this unused note. Okay. So that mesh is fine. So what we need to do now is add this front piece here. Looks like it, it's roughly the same size, and it's flux with this piece. So let's just add two bubbles, transform it outwards a bit. Let's make this guy's hard. Let's make it black Okay. And let's it looks like if we look at this, it looks like it's stopping here, so let's skip this. But it also looks like it's flat in the front because it has some button on, so maybe let's select those guys and delete them. Or we just the front one? Let's go back before we kit that wing kit that itch. Let's touch it, in fact. So we have our separate mesh. And now let's let's do something similar we did before with the sphere. Let's align the align the face the pivot in one of those faces. Let's squish it down a bit. You still need those cos. Oop. And let's let's align it here. So let's snap it here. Align it here. Make it. Let's duplicate it. To the back like this exactly let's just combine it and bridge it. So then the pivot again, bake it, maybe scented, throat a little bit, so it matches our concept. Maybe like this. Let's see. David like this finel let's build this, build that, extend this a bit. And's see so it's in the center of our pipe. Okay, cool. Then let's get rid of that guy. 16 a bit more. And now let's add those guys. Those should basically be cylinders. Let's scale it up a bit. Again, like 12 sided. Let's use snap scale so we can snap it to the side. Snap together, I mean, sorry. And let's do something similar again. So it's up to. Let's actually scale this down. So we have this pipe. Basically right. And then let's extrude this ones. Let's add a edge loop here and now detach this loop edge loop and detach it in the center. So we have two different pieces now. So now if first of all, we can scale this up a bit, so it's so it's overall bigger. But then we also can take those guys and move them apart a bit. And now let's bridge those guys again. It's a recent the loop, and let's align it with the a cool. Let's make this little less thick. And now what we can do is we don't actually need this. We can bridge those top guys with those top guys and those bottom guys with those bottom guys and then just steady this and then just fit the hole in the center. Soften everything, but let's make this face hard. Say, Yeah, let's make those cuts n. Okay. I guess this is roughly how it looks like. Maybe it's rotated p. Rotate it backwards a bit. And maybe this is a little bit smaller, so let's skin this down. Maybe those guys are moved in a bit. But roughly, I think that's it. So let's just move this down, so it's in the center here. Let's make those guys longer. Well, let's do it the other way around. Let's move those guys up a bit. Up, up, up. Like maybe. Let's do both. So let's move this up a bit. Let's take all of these guys the lend of this face and move them down a bit. Cool Now let's take this guy. Let's poke this, so we have a center, so let's align pivot again. Move it to the center, which was move it to the center, bake it, and let's mirror it on the set axes. It looks like our circle is not aligned with this guy. That's our main issue right now. So let's select the whole thing. And let's try to align this manual. Which is strange because I thought we it. Okay, but then I guess we should need to select all of it again and move it down because, you know, it looks like it's too high. Okay, let's make it both of those guys. Great. Let's close this hole. Hold. Okay. This guy is basically fine. We can really, like, maybe put the babble on this maybe. Because that's what we're gonna do at the end anyway, so it looks more like the final piece, maybe. Okay, cool. Now, this should be fine. Let's go up to this monitor. Okay, so it should be a little bit thinner, I would say. It also have a connection around this piece, so let's duplicate it. Let's delete everything but those edges, and let's add edge appear. Selection delete. The line is pivot with this edge, so it's perfectly straight. So we have this nice this nice piece here that's perfectly aligned with our sphere. Let's extrude it a bit. Let's make it smaller. Let's make this gray as well. Let's make this 1 gray. Here we can already make those ss rounder, maybe. So it's more like the final. I guess we're growing up. Yeah, I mean, it's been brothers no sets as well already. Now, let's add a connection here. So I guess we're just going to do a plate here. So let's combine those guys. Connect those guys with the centerpiece. That's duplicate again. Let's delete all but those two faces. And that's pebbles. Make it a bit smaller. Okay. So we just have this face now. Okay. So that's why it should connect, I would say. Let's let's move this in a bit. Let's scale this a bit. Let's freeze this. Looks like it's broken for some reason. Tick now, let's make it a bit smaller. It's the pivot let's go. Okay, it looks like it's broken for some reason. Let's deck with the history. Let's see it again. Yep. And now just extrude this through here and then extrude this down. And now let's give it some thickness. And that's basically the connection we're going to do in the hypnlator I would say. A little bit thinner, maybe. Maybe we should align all of this a bit better, this Yep. Then it looks like she has a grip peer. Let's add this script. So for this script, I would say let's start with a cylinder. Let's do a 12 sing. Okay, let's do it first and align it later. So I would say it's like one of those guys. That's like, looks like like this cube but with round edges, so let's just move this outlet scan, let's reach it. So we have these nice round edges here. Then let's just let's move this out a bit with more space. Let's move in a bit, I guess. Let's take those guys now and let's move them in a bit. Then let's select all of them, and let's move them down and back maybe. And then down again, see how this looks. This could look cool, I would say. It's nine a bit. Let's just make sure it's more into the front, more down. Let's maybe squish it a bit. Something like this, maybe. Make it all soft except this edge up yep and this glop down here. Let's make it tck let's also add a piece around here where it's attached to the metal pipe. So let's still the rest again, let's scale this up and move it in a bit. Let's make it black. This could work. Okay, cool. And now we can see, especially on the back piece, we can see there is this piece where the back of your arm would lay in. So let's create this piece. And it's pretty easy, I guess, because it's just like half of a cylinder, I guess, and connect with a cylinder again. So let's create a signal right now. Let's snap it to this word here. So it's perfec line. Let's scale it up again. Let's rotate it. Let's rotate it. So the x is lined up with this guy, so we can actually move it out. Or let's make it align with this guy here. So it aligns with our piece in front of you. So like this. Let's move it out. See how big is this right now? Yeah, it could be bigger. This maybe. Cool. Let's move it down. Make it thicker. Let's delete the inside of this, and let's delete those guys in the front. And let's just give it some fixtures. Exactly. And then let's do the same, maybe let's just duplicate this guy. Align the pivot. Let's move it upwards. It didn't work perfectly. Okay, so let's duplicate this. Let's add a ha pea, let the rest and extrude it and give it some offset as well. Let's make this one black, as well. This one black. This one black as well. Okay. Then I would say it looks on the back. We have, like an extension here with some black peace on top. So let's do this allow as well. Okay, cool. I would say that's it for the rough blocked. I know we're missing those cables, but I think I want to create those cables when the character is basically done because we need to attach them to the character. As soon as the characters are done, it wouldn't really make sense to attach them now. So let's leave those out for now. Could 7. 05 Jacket Blockout: Now let's move forward and let's work on the biggest part of the blockout. Let's work on the jacket. So let's hide everything else for now, so it's easier for us to concentrate on it, so we only see it. Let's go to be all of this. Okay. If we take a look at the concept again, let's see where we need to go. Okay, so it looks like we want to add more to this part. We want to make sure we know exactly where this leaf meets the torso, and we also won't define this leaf itself here. Okay, let's go. Let's start by adding more geometry to the sky. Like this. Okay. Now, let's for now with soft selection. Let's see if we can move this roughly into place before we use sent tools. We like this here. Okay, then let's open up sent tools, and let's use it on with those guys maybe first. So we have a nice round each here. We have too many polygons. Let's collapse those guys. Let's use Senegon. This looks cool. Okay. Let's use it here. Also make sure that this order here is nice and smooth. So it's also sent here. Okay. And let's also use it here. Let's take a look at big few. It looks like it goes down and over. So this is fine. So let's just make this nice and round here. Yeah, maybe like this. Sure all of this is soft so we can fel it better. Make this nice and even. O. Then I would say, let's make sure we have a nice smooth border here where the sleeves meets the shoulder. So let's for now, add a add a circle here and put some harages on it. So we always know which one is the connection. Maybe let's even cut a hole in it so we can figure it out better, so it's a moo polis it should be around you, I guess, looking at the concept. Mm. Hide this one now. Or, let's also find it in our outliner so we can the unhide it again. We should add some edges here anyway, so let's do it now. Let's move this forward a bit. Let's use Ed the edge those guys, cool. Let's also extend this edge right here. Maybe like this. It looks not too bad, to be honest. I think we should also let's get rid of those inside. I think we should also give this more dep for now. That's too much, but I guess, something like this, at least. Yeah, let's extrude it inwards, then. And let's also split it around here, maybe, and let's color those red. So we can really see what it would look like. Let's make sure those are in the center of our scene. Okay Let's move this around at more. Yeah, this is not too bad, I would say. Okay, then let's unhide this shoulder piece, and let's snap it to this. So sorry, snap snap the words, so we have this nice matching up. Let's add those two edge loops here. Let's use the edge loop on the guys it's flowing, sorry. Then let's snip them as well. Let's use it on those gals. Yeah, we can use it on basically all of those gulls now. So we have a nice round cylinder here. Okay. Okay. Then let's take a look at how we're going to connect all of those edges up, so we're just going to move this one down, select the bottom ones, and use loop on this. And we can do the same on this guys, so we're going to connect them down here. Start with this one and use a loop on those guys. It looks like, shouldn't happened. We need them to separate. So, let's look let's loeslo. Let's get rid of this. Let's lo. Okay, it looks good. Okay. Now we just need to make sure that our volumes are still correct, but this looks good. So let's add, I would say let's add two more oopsie and give the scale this up a bit, move it out a bit. So we have some volume here. Because it looks like on this side, it has some bend to it. So that's good. Let's also maybe make this a bit smaller. Okay, cool. Then let's I would say let's add one edge loop here maybe. Oh, no, I looks pretty straight. I would say, let's leave this for now. But what we can do is we can add this detail in here. So that should let's look at the B view again. Okay, it's not connected to the B view. Let's see. It's about this detail here. I would say let's cut it down here. Like this. And now let's make sure let's combine those two. Let's make it hard for now so we can see how it looks compared to this guy. I think we might want to, we might want to edit this a bit. This looks a little more thin, I would say, on our concept here. Let's move those also in a bit. Let's continue this edge here. And then let's add Now let's add a loop here. That could be good. So let's add this loop here, connect it down here, so we have this continuous loop around everything, and then let's select it and transform it out just a bit. So we have some volume here. Exactly let's make it hard. Make sure the sun is hot as well. Good. Then let's align it a bit What so that's this part. Let's make sure this is scented again. Okay, cool. Now, let's get this red detailing to indicate everything. It doesn't need to be perfect now. But I would say it's like something like this. Then it goes down to here, maybe. So let's get rid of those guys. And then inside, we have the red material. So let's do it like this. Let's extrude this down to here, maybe and then forward. Let's snap it to those guys, and then let's just select the edge and move it in a bit like this. Okay. Now let's bridge those guys. Then let's just move some words around so it looks good. Okay. Okay, good stuff so far. I would see. Let's make sure this is white. Those guys are not red. All right. Okay, cool. Maybe let's make it a little bit thinner all of this. Still a little thin out. Okay. Okay, this looks good so far, so let's continue with this leaf itself now. It looks like it should be further out. So what if we just select those guys, move them up a bit, and move those guys in a bit. Yeah, it looks better already. Let's move those guys in bits better. The majority of this will be done in brush, like all the folds and everything we will eat in ebrush. We just want to have the rough silhouete for now, so we have something to work with inside ibrush. But the majority will be done in Zebrus so let's not overdo it. Because the more we add here, we sometimes need to go backwards in ebrush so it's easier if we have a very plain looking mesh right now, like just a silhouette, nothing else, and then the rest is done in Cebush. Sometimes easiest. Especially if you know already that you want to push it to Cebush. So this could be fine already. Yeah, this could be fine already. Then let's add this red water bottom here, so we have to slide up a bit, and then let's add a loop here. And let's cut this piece in and also let's cut this bottom piece in. Let's delete this. Combine this guys, select it and make it red. So this guy. And then let's add a loop and transform it out a bit, so we have some volume. Make sure it's in the center again. Okay, cool. You can also make the belt black already. And we can also add those little details like we want to have a belt buckle at the end in front. So you can already do the cylinder here. We also want to have the Stipa here, so's duplicate the cylinder, move it up a bit, a little bit. Like this. Make it smaller and move it into place, looking at the concept. Like this, maybe. Looks like it's wider at the bottom and further out. Let's make it a bit smaller, make it redskin red. Looks a bit too big, to be honest, so let's make it smaller. Let's add one here and make it going inwards a bit, so I have already this shape here as well. Okay, then let's add those details at the bottom of the jacket, so let's move the camera down a bit so we can see them better. So I would say that's like a cylinder here, just with six sides. It's smaller. Let's move it roughly into place, looking at the concept as well. Let's expand those this make it soft and red. Let's mirror it to the other side. Let's make sure to convert it to a separate mesh with this icon up here. Now let's move this one into place and extend it even more. Hey looks cool. Maybe we want to add some volume to this. So let's use thickness and offset to add some volume to this. Maybe like this. And then also, let's extrude it upwards a bit and scale a bit. Okay, cool. And then, again, let's make sure that those words in the center are exactly on the axes. We're using their menu up here. To make all of this soft. Cool. Now we can position this inside this asset and it's not hovering. So it's easier for us to work with at the end. Looks like there's closer together. So let's do it like this, I guess. Okay, cool. Then let's add another cylinder. Again, with maybe 12 sides now because it's gonna be a bit bigger for those guys. So it's wider and bigger. Red. Let's make sure it's soft again, too big, maybe. Duplicate them here, rotate them a bit. This should be rotated outwards, I think, a bit. Yeah. Okay, so we have those two guys, and for the knots here, we can add Tauruses. So Taurus with 12 and 20 sides maybe, or even less, can also use six and six, I guess. Sk it up a bit and maybe change the radius a bit so it's not as wide. Move it here, add the red on top. It smaller maybe. Duplicate it, rotated, move it a bit, so it looks like they are intersecting, and that's the knot. Let's duplicate this knot and let's move it down here as well. Okay, cool. Maybe make this a bit longer. Maybe those guys are too thick, so let's select them and do a transform components on them. Just a little bit more. Maybe those guys are too thick as well. Maybe let's just make them a little smaller. Well, let's leave it for now. And let's let's look at it when we're doing the hypol but I guess they are a bit too big. Okay, yeah, so let's put all of this into our block card group again. Let's check again the back if we missed something. Looks like we missed this piece at the back here. So let's do this. Some of these up a bit. So it's just like a asymmetrical triangle. Best way to do it now is let's duplicate those guys. Let's select those edges. Or let's combine the edges first and merge them. Let's select those faces here, delete the rest. Then let's just add this detail like this, cut in the triangle and extrude it a bit. So we have this shape here already. Let's make sure the offset is big enough and the extrusion not too big. And let's take those edges and move them up a bit so they intersect with this. Let's move those this side a bit. Exact like this. Okay. And I would say I would say that's it for the for the check. 8. 06 Headphones Blockout: Now that the check it is done, let's continue with the headphones. So let's again, select the headphones, and let's hide the rest. Miss the piece. Okay, let's take a look where we need to go with it. As before, because of the head is rotated, it's pretty far off. So we have to basically just interpret it without sticking to it super close. But what we can see already is like we have a flat distance here with those two cutouts here and not like us with just one line. So let's start with this. I guess the easiest way through this is just, let's move this out a bit by scaling. So we don't just move this one edge out, but we scale up this whole. Like, we move out all the edges, basically. So let's do it. This maybe let's heavily that end. So we have this flat surface here. But it also looks like it's rounding in. So let's try let's try adding a pebble on those guys as well. Maybe a nice and round one. Bye. What if we make those hard now? Are those guys soft? This could be, but it also looks like those guys are smaller. So maybe let's add an edge loop around here. And let's try making those a little bit smaller like this. Maybe let's get rid of those. It looks like we have this is coming in more. Let's combine those. Yeah, so maybe let's make this smaller as well. But this could be it, to be honest. Looks like it's like a capsule that got cut off, so Yeah, we might. We might want to keep it for now like this. Then we have this black de telim. So let's poke this so we know the snap it. And let's create a cylinder. Create a cylinder, and not too many sides. Let's do 12 gen and use our snap together to snap it to the center. Then let's make it smaller. Let's make the front a bit smaller tapers. Let's make those guys soft. And then let's put the black material on this. It looks cool. Now to those guys on top here, they should come in at one point. So I would say let's delete half of them and let's mirror them. So we only need to work on one side, and then let's get them bending here. So easiest way to do this is to use multi cut and create a 45 degree angle. Then we're going to delete the rest, and we're just going to extrude in like dist. Let's make the sky soft. Okay, it doesn't look too bad. We also have this detail around here. So let's do this as well. Let's add an edge here. Make sure it's straight here. Let's add another one here, and then let's extrude those guys a bit. No extrude but scale them up a bit, so we have this detail here. Cool. Maybe let's make this a little thicker. Yeah, could be a good idea. Okay, cool. Now let's continue with this guy on top. It looks pretty straight. He says this babble, so I would say, Let's keep it like this. Let's just add this babble, nice and big and round. And then let's just give it some depth. Op. Let's let's make sure it's flipped. Now let's select those guys, let's delete the center one though. Let's select those guys because it ts like this detail. You can really at this, so let's scale it in a bit and then scale it out a bit. So we have this nice detail. Let's delete all of those faces here, and let's move them all to the center. Yeah, I guess it looks something like this, so we have this harder plastic on the bottom and this I don't know fabric on top. It looks cool. Now let's continue with this thing here. Easiest thing, I guess, to create this is to duplicate those guys, combine them, and weld them, delete all, but the center face ring. Let's add this line and center bevilt and make it bigger. So we have um straight lines on both sides and all these angles lines. Let's make it as wide as we want. So 12 maybe on this or point or yeah, let's delete the rest. We only need the top half of this apparently. Let's extrude it a bit. This exactly. And then let's extrude this. So we have some thickness to this metal piece as well. And it looks like it's going into this plastic piece and connecting to those guys. So this should be fine. Let's mirror it again. Oh, all but this piece. Because this, I guess, is like I don't know, we don't need this on both sides. Okay, cool. Okay, now that this is done, let's show all again. And let's work on this guy at the back yard. So let's move our camera. Let's It looks like it's the transmitter for these, headphones. It looks very easy to do. Let's first of all, delete half of it, so we only have to work on one side, so align it. Live it to this, bake it, and then mirror it on the set axis. Now, let's see. We need a box in the center here. So let's create a box. Here, I guess. Let's extrude this and offset it a bit. It's nice and evil. Witten this out. We can slide those edges. So we don't have useless edges here. We can get all of these a bit bi. So all of those guys we don't need. Then let's also add, I guess we need to move this up a bit up a bit, maybe a bit. And let's also add this step at the bottom. So let's get rid of this edge for now. Let's create one, nice and straight. Add another one and move this big I would say, move this Yeah, something like this. Then at the top, we have these pieces where the straps are connected. Let's add those as well. Let's for now just create this line in the center, and let's bevel it. Then let's add Puma lines. So, let's bevel this line because it will give us two lines. With che fa, exactly. And we're going to add this detail indiana. So this up, it's also disconnected. Let's add two lines here, so we have the center. What we can do now is snap those, but don't weld them. And now if we take this edge and move it, we have this sidewall already of this piece. So let's let's make this like a roundish thing like this. Let's make those guys harto. Thus hard, as well. Those guys we don't need. Yeah, something like this. Okay, then let's also a cylinder final. Okay, six sided cylinder or something. Let's Let's use let's use snap together snap it onto this side wall here. Let's make it smaller and longer. Let's move it roughly into place because that's where the slings gonna connect at the end. Sling's connecting to the belt. So here. Maybe or maybe more outwards. Yeah example this. Cool. Then let's let's again, um, move the period here, bake it. Come on. Pivot. It's align the pivot, move it, bake it, and duplicate it. Good stuff. Then it looks like we have two buttons on the sides. So let's add those. We can also use Snip together on those guys. Okay, so all. Let's scale it up a bit. Yeah, one here, I guess. Let's rot it in a bit, so aligns with our mess here, one here and one up here somewhere. And then also one here in the center. So let's duplicate this move it here. Up here, somewhere. Let's move. Let's use snap together here as well. Snap together. Exactly. Roughly here. Let's select all of those new meshes now and those guys and make them gray. Okay, cool, and let's move all of these in our locket group. Okay, now that this is done, we can also do the connection to the headphone. Let's say, because in the concept, it looks like it's going the wire is connecting, not on this guy, but it's going over it, wrapping around and connecting to the back. I think this is a little tricky for us, so I would prefer it if we have one wire going from the headphones to this piece, then we have another wire going from this piece to the monitor, I would say. And then a second wire going from the monitor. A third wire going from monitor to the front. So we have a total of three wires, rather than have this one long one and then one that's just wrapped around here. Okay, so let's do this. The easiest way is by creating the simple shape that we want with sphere first. So with a plane, in fact. So let's start with a cube. I would say let's move it to the center here because we want the connection at the bottom here, so the wire comes out somewhere here. And let's just do it roughly, so it goes over this piece, goes down here, then moves back here somewhere. Moves back here somewhere. Then moves down here and connects somewhere here, I would say change this later as well, but somewhere here, I would say it connect. So now let's just add edges in here. So we need one here. Another one, let's see. Another one here because it goes out straight, of course, of this guy because there's a metal connect or something. So it goes out straight. And then wraps around here. Something like this, wraps around the shoulder, comes up here. Okay. Let's add a bubble to this guy. So it ends around here. Let's also add bubble here. Let's also add a bubble. Yeah. So I guess that's roughly how it will work. Maybe a bit. Let's see. Like this maybe. I should all be a little closer to the body because it won't really move over the body, I guess, on top of the shoulder. And then in here, let's move this one out a bit, I would say, or up a bit. And let's also add a bubble on this. So it's nice and round. So we should also add some more edges here and or use a lateral to make them nice and round. I like this. But going to have a nice cur here. There's still a wobble. Okay, looks good, though. So now what you want to do is at a center loop here, select this and use quick pipe. Now in quick pipe, we want to say six sides or something, and let's just make it smaller. Way smaller de. Then let's click somewhere else. Click Quick bike again. Quick pipe again, so it deletes the unused notes. Let's delete the cube we had for the plane, and that's color this black. And that's our Um, why or not? All we want to do now, I use sprick? Yeah. All we want to do now is create the connector as well. So just to duplicate it, delete the rest, make sure this is nice and meat here. Just move it up a bit and give it some thickness. Uh I guess that's enough for now. Let's make it this gray. Basically we will figure something more unfular later, I guess. Same here. Let's just duplicate this, make sure this is straight. And that trust. I think it should look like one of those connectors you have on guitars or something, you know, small ones. So let's keep it a bit longer. Yeah, cool. Okay, I would say that's the blockout we need for our headphones plus the connecting piece. 9. 07 Pants Blockout: Now let's continue by finalizing the detailed bout of the pants and the boots. Again, let's hide the rest so we can concentrate on the legs. First thing I would do is let's extrude up a bit in a bit. So our pants are longer. Maybe there like this. Moles take a look at our concept. Let's see. So one thing we are still missing are those pockets and we are missing this piece on the column here. Then we just need to detail it more. Okay, good. Let's start. Let's start with the overall shape here. Let's get some water. Letter here. We have this one. So of this Let's just space them out a little better. Okay. Okay, then let's just add one more de just add it from this one and then let's just move this out of it. Okay, the overall shape of the leg looks good, I would say. You want to this one might this one. Yeah, let's do it like this for now. Let's add a look for this detail at the bottom here. Also, let's make sure this is a nice and flat surface here. If it is nice, and this one should be two. Nice. Then let's add up here, transform it out a bit so we have more volume here. Let's make this one part. Okay, it looks good. What if we use circus in those guys American perky the round? Yeah, let's do this. Then let's also move them a bit into place again. Like this cool. Maybe let's move this bit up. Yeah. Looks good. Maybe let's add one loop in here and make it a bit smaller so it looks like there's a fold in there. Okay, cool. Now, let's set those faces here. Let's extrude it down a bit and scale it down a bit. Let's make all of this soft. Then let's add this piece on the side here. I would say, let's just duplicate it and let's get those faces, treat the rest, paint them red, and add babbling center as edging center Bb. Make it bigger. No big, just as big as we want to trip. De the rest. Now let's see this one shouldn't be here, and this one should be extruded out what's like this, basically. And this, I guess, should be in the assemble. Now, let's give the some thickness. Like this. Okay. I guess the top here should be smaller like this movie. Cool. Now, let's duplicate it in the center. I think we might want to move this forward a bit. It's those edges, throat it a little bit, and let's move it a bit forward here. Also, let's spit it up a bit. Yeah, this looks cool. Okay, then let's work on the pocket here. Maybe also let's bevel this edge so we have more geometry here in the bend. To get this pocket done, I would say, let's let's cut it in for now. We can also do this here, for example, on the concept. So I guess, this should be a bit higher. There should be more here. Then we're going to go straight. It's fine for now. We're going to duplicate the mesh, delete all but those guys. Now we can delete those edges here again. Yeah. Okay. Now, let's mirror it to the back throat it a little bit. Looks good. Let's combine this. Let's make sure those are merged. Let's get rid of those. That just here, down. Okay, so I guess we have the rough shape here already. Maybe let's add Wondo each and move them out a bit, so it's a little more round. Okay. Now let's get this cut in so it's like op around here somewhere. Like this maybe. Okay, then, let's extrude the whole thing out once a small offset. So the whole bucket has some volume, and then let's just take the top and extrude it as well a bit. Six. Now, let's take a look at all of it. I would say it doesn't look too bad. Let's just move it into place. And let's add more geometry on the pants now because it looks like we don't get the bend that we want, so let's add three Molsia. Let's use added Eglondos and then Begona ones that were here already. Let's just see that all of this is nice and smooth. Okay. So, let's just move those a bit. What do you accept those guys. Let's not do this. Let's skip the paints nicing round and let them intersect because it doesn't even matter that much right now because at the end, we're gonna create a hypoly out of just the pockets anyway, and we're just going to make sure it's nice and fitting into the hypoly. Let's duplicate it again. And I would say that's great. Maybe maybe want to move a bit more to the front. So just bit. Yeah, cool. Okay, then let's continue with the boots. Looking at the boots, I would say the majority of all the fold work will be done in see bunch later. But what we want to do now is make sure the back is nice and round, the front is nice and round, and just generally add some more topology. So let's add a loop. Here, let's delete it from the bottom here. Edge on this addEdge those two lens. First, let's make sure that the top is nice and round. So we have this edge coming up here. Yeah, let's try this one. Maybe just in the top on her. Sp manually on the bottom here. It's basically the shape we want. Secondly, Then in front, we want the nicer shape as well. So let's add a black. This, I would say. Then let's work with those guys, so we want to have them come in a bit. Like this movie? Let's make it. I would say a little wide at the whole thing. Yeah. Okay. Then on top, yeah. Let's move those edges a a bit so it's nice and. Okay. Let's add some loops. So we want to add one here. Let's certainize those two. And let's scale this one down. It looks like it tapers down early. Let's keep the nice and straight at the back here. Smooth this one out a bit. Those guys. This one can be fairly straight this edge here. But maybe we want to add this nice pump in the front here as well. So let's move them up a bit here. Pool. Let's make sure this is flat. Let's make sure those guys are flat as well. But we want to bend it upwards a bit in the front. Maybe let's add this a bit to the front as well. Let's move this to the front, I mean, sorry. Move this bit to the front. It looks cool. What we can do now is add the soul. So what we can do to do this is just extrude it down a bit, then grow our selection, and move it up again. So this is our soul now, basically. And now we can just add a loop, transform it a bit so it is so we can see that it is a little thicker. Exact h Pix up those edges here. Let's grab this piece, move it to the front a bit. Also, those two guys. Also, let's move those guys back a bit, I would say. So it doesn't look so strange. Okay, but I would say this already looks pretty good, compared to our concept. Let's see. If we show all again. Yeah, I would say we can keep the pens like this for now. So all we got to work on next is finish up detailed blocket of the bag. Then we can add all the tables. And then we can basically start with preparing the matches for Cebush. 10. 08 Bag Blockout: Okay, now, let's work on the bag here. Let's do what it before. Let's hide all the rest so we can concentrate on it. Now what we want to do is make this bag nice and symmetrical. We want to add the piece on top here. We want to add straps, and we want to already indicate the separation that we have here in the different pieces of leather. So let's start by making it symmetrical. Let's just move the pivot somewhere here, rotate it a bit, and duplicate it. And then let's just move it into place. I would say it, sure, Burk this. Let's try. Lets still eat those guys. But the other guys? No, guys. But let's What if we move it a bit more like this. Let's see. Guys Those guys? No, let's get rid of those guys. Hmm. Yeah, this could work. Let's do this. Then let's make sure, let's snip those guys together, and then let's make sure those guys meet. And let's take a look at the concept. Okay, so we want to make sure First of all, I think we should change that bevel here and top part a bit. So let's start with this. We want to move this down, I guess, a bit and move this in a bit. And then let's get rid of this guy. So we have this cut here, basically. Let's move those guys down a bit and in a bit as well. Is hard for now. And on top, we want to make sure this is maybe straight. It looks good. Okay, cool. Let's take a look again. I think we want to move all of this up a bit and maybe in a bit. Then we want to make sure those guys are further up as well, I would say, maybe like this. Let's add an edge here. Then let's try to make this nice and round at the top. Let's just select those guys and add a bevel on it. Make it soft? Yeah, it looks cool. Now, this guy goes around here, and then it goes down to here, maybe. You want to move them out a bit more. Or even rotate them out a bit more like this, just looks good, I would say, before we do the cut. Let's make this nice and flat. Yep. Okay, then let's use the multi cut tool and let's cut in those guys. Again, I would say let's try to make this nice and flat here. Let's combining those guys. Let's move them a bit here. Let's make it hard now so we can better see it. I think it's getting a bit too wide, maybe, but let's think about it later. So what we want to do now is we want to select those guys. Oh, let's add an edge here so we know how far. Let's select those guys. And let's extrude this one. So we have this detail. Let's offset them as well a bit. Let's delete those guys in the center here. Good. Let's also add an edge around here so we can already color black so we can see better what's going on. Sorry. So an edge around here like this. Let's connect this up, selecting those guys in it, Nick. Do you spray now? Back. Okay. Back. Okay. Okay, not too bad for now. Let's also we will, let's figure out this hole first. Let's move it a bit. It doesn't need to preferpt now because we will merge it later anyway and then it will be perfect. Just looks better right now. Let's add this piece on top here. Maybe it is square. So looks like it's down here somewhere. And then, let's just use those guys here. And let's add an extrude on this as well, and then little thickness, a little offset. Let's treat those guys. Let's make sure those guys are hard. Let's make sure the skus is soft. Yeah, I think we want to move those in a bit here. Yep. Okay, I think we're getting too wide with this whole thing. So what I would say is what if we move the whole thing a whole second piece in here? We snip it, for example, better, but I think it's still too wide. Yeah, better. Hmm. Maybe just a little bit more. Yeah, this looks better. Okay, that means we select all those edges and slide them back a bit. Yeah, it looks way better. So let's add Let's add those divisions. So we want to have, I guess, one division in this guy. So to do that, I would just do it very rudimentary for now. We just, like, add an edge here. We could generally add an edge loop in all of this and just transform those guys. Transform it out a bit like this, so we have a little more volume to the whole thing. Here, we just need to make sure that this is nice and round. Okay. And now, let's slide this up, so it's a little rounder. Then let's just add a second loop. Make this one part, and transform those out a bit. So it looks like a layer. Yeah. Make it softer. So we have a layer here. And then we want to have a layer down the center here. So it's like around here, I guess, and it bends up here, M. Well, I think it's too low. Let's do it up. Yeah, what if we What if we let it connect up here somewhere? So it's, like, um, parallel to those guys here. Something like this one? Maybe we don't need this one, I guess. Let's try to make the lights and parallel. Then let's just add a second loop in here. And again, no, let's move this one out a bit. Make them soft and make those guys out. Yeah, this could work. You touch them. Didn't want to touch them. This could work, yeah. Let's Yeah, let's keep this for now. Then let's add another square down here for this red piece. Again, let's just extrude this with an offset like we did before. Let's get rid of those guys in the center again. Select all of them, make them red, make the outer bubbles hard and make sure the inner bubbles are all soft. I want this guy to make it red. Let's select those edges again. Let's make sure they touch. Cool. Looks like we have to move this one a little bit to the front. Okay, now let's add those strips. Easiest way to do this is just let's duplicate this delete all but its face again. And let's see, we want to have them after disband here. So around here. Maybe. Yeah, maybe somewhere here. Let's make it black. Then let's try. So we're gonna extrude it out, then extrude it down it's a bit too thick what we have here. So let's slide it in a bit. Exactly. Looks like it just small bend inwards here before it comes out again. Let's add a bubble. No, it's not a bubble. Let's. Let's do it by hand. Let's just move those edges around a bit. But I think that's pretty much it anyway. Yeah. Okay, so now we want to combine those two guys. And now let's make sure we are merging those guys in the center. So let's just always select those two and merge them in the center. Oop. Oop. It's made the soft. Okay, cool. Now we want to duplicate this over the center. What we can try is select both again, Stic bit one of those edges and bake it. This should work. Yeah, works. Okay, so now we can see this is too close together, I would say. So I think we should move them out a bit more. Yeah, maybe like here. Yeah, it looks better in a bit. Okay, cool. So now let's just give them some thickness again. Cool. Now we want to move them underneath this, basically. So let's just stick them in for now. Let's make sure those guys touch the border basically. Beatle bit. Not cool. So if we show all now, this fits quite well, I would say. All we're missing now is a connection to the belt. Easiest way to do this, I would say is let's let's let's duplicate this again. Keep this edge here, add this phase. And extend the strap out of here. So we want to basically extend the piece out of here. And then let it wrap around here basically like this. Let's make it black, and let's invert it the nous. Make sure it's nice and straight here. I think it's too wide right now, roller cool. And then let's just give it some thickness again. Okay. Okay, now we again want to align the pivot to the center of this thing, bake it down, and then whoop. We get it. And it works cool. Okay, so I would say that's the bag. So next thing we're doing is, um adding the tables, and that's pretty much it for the detailed broker. 11. 09 Blockout Polish: Now we want to add the cables from the box to this monitor and from the monitor down to the bottom of this piece. So let's start with the metal detector first. Let's take a look at how it looks in a concept. It looks like it's connected on this side here, and then it's spinning upwards and then connecting to the monitor. Easiest way to do this, I would say is let's use a Tush, no sorry. Let's use a helix. Scale it up. Let's make sure it doesn't have too many divisions. So let's reduce them. To something that looks better. And now let's see, we want to have one, two, three, four cores. And now we just want to base them out so we want to hold piece smaller, make it fit roughly around here. And then let's space it out using its height. Space it boop, space it out more. Also, we need to, I guess, invert it. Well, if you put the minus here, that's no. Okay, we need to invert it. So let's put a minus on the set scale. Okay, it's cool. So let's just move it so it fits, I would say, like this. Change the height a little more. Okay, now we just need to make sure it's nice and tight around this piece. Okay. Let's change the height a bit again. Okay, cool. Let's make this soft. Let's set the bottom top cap here. Let's make sure it's what we want. What we want on the bottom here, we want it to connect basically here, right. So what we can do is just use a soft selection, move this out a bit because it looks like we have this outward spent here. Then just rotate it a bit. Is just ease the transform. And then just extrude this for now. So it connects somewhere here. Like, I guess, to make this look better, we want to add some loops, maybe use added edge flow on those guys, so it's nice and round. Maybe more loops again. Yeah, this should work for now. And we're going to do something similar here. We're just going to select those with a soft selection. Move them out a bit here so they don't intersect too harshly here. And then we want to extrude it upwards into the monitor piece. Let's not. Let's select those edges here. Let's move them. Again, let's use Edit on those guys. Okay. Now, let's say we are basically happy with the shape, but as we can see the cylinder is all squashed. So a way to fix this is by selecting all of it. We transform it down to the very center, so it's like one line. So we know where the center basically of the whole thing. Let's just select one edge loop, and let's use quick pipe on this. This gives us a nice and even cylinder now. Okay. Let's do it like same thickness as here, basically. So bit thick, I would say, Cool. Then quick again, so it deletes it. Let's delete the helix and paint this black. That's pretty much this one done. Now we want the second one and collect from the bottom here to here. Let's start by duplicating this, deleting all but guys. We have a starting point and let's just move it next to it. Now, let's already do the trick. So we just have this one phase in the center. Let's make it writers we have more to work with but we know where the center is basically. And now we just want to create a rough shape where it is and use quick pipe again. So we want it to connect somewhere. Here, we're going to add some words around here so we can move this around. And now we just want to a bend here. So it dips down somewhere here. Somewhere here, maybe. And then we just want to add some more poli so it looks more like not as polygon. So, Okay, let's select those edges here and those edges here. Let's bevel them with like four or something. So we have a nice curve here, and then let's see the same here. So we have a nice curve here. Yeah, this should be should be the connector anyway, so it should be pretty 90 degree. But we can add, we should add some bubbles here. Well, let's bubble this like this, maybe. Yeah. It looks better. Same here. Okay, then let's add the edge in the center. Selted and use quick pup again, again, six height segments, and let's scale it down. So it's the same size. Okay, let's press ours. Use quick pup again, and let's delete our edge that we hit in the center here. And that's our cables now, I would say. Okay, it looks cool. So the next thing. The next thing we would do is now that the rough blood or the detailed block is basically done. We're gonna either create pieces directly in Sebush the hill, for those guys, for the pet, directly in Maya, we're going to create the haply or the metal dicta will be created entirely in Maya. And pieces we want to move to Cebush to scutre them like the check kit or the face, we have to do the whole face brush or the hair. We want to prepare them as much as possible in Maya, send them to Sbrush and work from there. Okay, C. 12. 10 High Poly Pet: Now that our detailed broker is basically done, we can start by creating hi polis directly in Maya or prepare measures to sculpt in Zbrush. Let's start with this little guy up here, and let's create the hypo directly in Zbrush. First of all, let's hide everything else so we can concentrate on that guy. I would also recommend having a concept open on a second screen, for example, so it's easier for you to model. But we can also zoom in on the concept again. To seed while modeling as well. Okay. Okay, I guess some parts we can just easily use like how they are. For example, this sphere. If we move it, it's just a smooth. So we're going to duplicate some things that we're just going to keep like this. For example, those guys, as well. Oh, let's leave them out for now. But at least those guys we can just straight up copy. Group them into our HR group and move them. And then we can hide the blockout files for Okay, now let's continue with the pipes, for example. If we smooth them now, you can see we lose a lot of volume here. The easiest way to fix this is by creating a support loop in the same distance as this edge. So it doesn't because if we go too close, we can clearly see a pinch. And if we go too far, we get this distance, so we want to have exactly this distance. So it's nice and even. Little here as well. It's a little too closive guess. It's Okay, looks cool. Now, if we look at the concept, it looks like it has a black piece here. So let's do this as well. It's the potatoes gas. The redress bebid so it's nice and so we have equal distance here. Extrude bit like this with an offset. Let's select all of those edges. Well, first, I would say let's delete the inside and cap those guys. Now let's select an edge, ring selector and double it. Let's get rid of the ChEMFA and turn the friction to one. Now, let's put a black material on it. Let's see. Yeah, this looks cool. Okay, so that's that. Then let's also work on that guy while we're on those pipes. Let's make sure this is long enough, so it doesn't create a hole fus. Let's cap this as well. Oh. Then also, let's put a small pebble on this. So it's not a 90 degree angle them but nicely beveled. Then again, let's add those edge loops. So here, one here, one here, one here. And then for this pebble, select those two guys, babble them again. Get rid of the chap fa, make the fraction bigger. Let's take a look. Okay, it looks cool. Now in the concept, it looks like it has it has some things wrapped around here. So let's start with that. A good way to do this is by creating them one of those tape pieces first, like we want to have just one from the thickness. So we're not going to create thickness of the whole piece, but just like what one would look like. We're going to duplicate this car and smooth it. And we're also going to et's hide all of this. You want to move this. Okay, then let's, let's duplicate this one, as well. Let's hide the original and let's let's just extrude this a bit. Let's add some loops here. So it stays kind of um kind in the shape we want to. Maybe make make it a bit spot this a bit inwards. Okay, let's color this white. Now, let's duplicate this as well. Um let's hide this for now. And let's also smooth this. Okay, so what we want to do now is combine those two guys. We want to use our mist that we had before. Also duplicate this Hi, the original. Now let's move this into place. Let's say our second one would be somewhere here, second piece that's wrapped around. What we want to do now is introduce more edges, maybe by smoothing it once. Yeah, this could work. Let's make sure it doesn't need to sector. And now we want to use our tool called shrinrap we want to make sure it's set to vertex normal and closest, if not intersection, if no intersection. So we want to select I think this one first, then this one and press supply, the other way around. So first, this one, then this one, press supply, and it wraps around the piece or just not as it might be too wide, should be the same width. So the ss and apply. And as you can see, if we extrude this it looks like it's just wrapped around, so let's make this white. Then again, we need a copy for later. We're going to hide this copy. We're going to make this smooth for real and combine it with this one. So now we can add next layer. Again, we're going to duplicate this. We're just going to this three or four times. So we have a nice looking taping ga. Smooth this. Let's like more loops. Make this bigger again, maybe turn it like this this way. And again, let's shrink wrap it. Let's put white on it, duplicate it, hide one of them. Smooth this one for real, combine it with those guys. This one. Oop. Move it to the front. Maybe, see how far we are already. Yeah, maybe loose. Maybe let's use this for our last one. Solve it again. Let's k, laid up again. But some more loops. Slightly rotated. Like this, I guess. And apply It's just not enough. Thickness, more thickness. Um. Yeah, it looks cool. Okay, then, um, let's delete this guy. Let's clear our history. Let's unhide all of those guys, and we should have our piping. We're missing one. Which one we didn't like. Let's see. Well, it looks like I forgot to duplicate one of them. Oh, no, dam, I forgot one. So let's do it again. Let's tad the history again. So we have those two? We have those free, can? Um, it's two it old. We're gonna keep those free here. I those free. Let's put this again. Let's move it here. Get it up again, like this as sove. It's a fast process anyway. I Okay, so now we're done with them. Oh, we had one more, I guess, right? So this again. Much smooth. We get this again. Much smooth. Okay. So those are our guys now. Let's put them into our HR group. Let's study the rest here. Let's unhat this HR group. Let's move this one in here, as well. Right. Okay, so we have this thing done. Let's add more depth to this last one. So we get a better ending here. And you're gonna Bel. Yeah. So it looks kind of similar. Okay, good. Then let's continue with this piece, I would say. Okay, if we look at the concept, it looks rather flat, anyway, it has some details in there. And it has some layering so it has some padding inside. I would say let's start by ping this guy. Or let's start by complicating it first, I guess. So we're not, um losing stuff. Okay. Let's beverl this once. Let's extrude this a bit. So we want some thickness here we want to have. We want to have two layers. We want to have a metal layer it looks like, and then we want to have a padding layer. So let's extrude this a bit. Let's flip it, and let's see. Looks like it broke a bit here, so let's move those guys in place. Okay. No, it's edge loop. So we have this first one for the white part, then we have a middle part and then the pad maybe let's go back in. Let's see if we can still edit the offset a bit. Maybe you want to have it more like this, maybe. Take. Okay, then, let's make this guy gray. Let's detach it here, make this guy black. Detach it here as well. We want to have slide extrusion here a little. And then we want to have a softer extrusion for the padding, so something like this, so it's radar soft, then maybe an offset as well. So the pedding is radar soft. We should even go in and transform this out a bit like this. So it's nice and round. Again, this broke a bit. Let's see if we can just move this into place on those four quarters that's strange to show what happened? But sometimes my we like this and just break stuff. Now, let's isolate this and let's also extrude these inwards a bit. So it looks like the padding is continuing underneath. Same for this guy, we need to select those two guys, extrude them a bit like this and same for this last guy. Let's extrude this and in a bit. Okay. Here, what we basically want is to select those two edges here and bebelm with a nice and big fraction just add one it center the two. Let's take a look. Yeah, this looks cool already. Now, let's make sure we have a supporter here. I guess, no, we actually don't need this, but what we can do is we can delete those edges here, so we have a quarter here so it shades better. Okay, this looks cool already. Now, let's take a look at the concept. We have a connection here on this guy. So let's do this now. Um, I would say let's just add an edge look for duplicate it. Split the rest again. Split this edge from here. Okay. And it looks like it also has this insert here. So, let's make sure we have this as well here on this. So let's Let's, how can we do this? Let's give this some fickness first. Then let's create a cylinder, I would say. Let's snap it do. Six sided cylinder. Let's. Snap scale it. Snap scale. Step together, I mean. Let's rotate it a bit. This, I guess. Bien. Maybe eight would be better. S eight would be the best, I guess. Let's move this in a bit. Let's use this correct size? Let's check. Yes, it's roughly the correct size for this detail. So let's go in now and let's just cut along those edges. Delete this now. Now let's select this whole thing, and let's do the rest. Let's also connect those edges. Let's make all of this black Yeah, that's roughly a detail you want. Then let's extrude it once with an offset. Let's scroll the selection and delete the big part. Big facing edges. And now let's just add an edge loop here. Let's use an edge loop here. This looks cool. Now let's select this outer edge loop. And we don't need those guys. Back here. We don't need those guys here. And let's extrude these ones like this. So we have a floater, basically. Let's grow the selection. Detach it. Let's make it white. Looks cool. Maybe we should at the extrusion, make it a bit more angular here. See, looks better. Okay, then, let's just move those edges those words a bit so we don't intersect anymore. And yeah, that's about it for this guy. Now we want to add similar detail in the frontier. So I would say let's start by creating a cylinder again. Let's moving it roughly where it should be. So we have the size of it roughly like this. Let's make it insided again. Oop. Yeah, it's fine. Okay, then let's detach those guys. And let's fill this and extrude it a bit. Like this. What we could try now ish What we could try is nice and broth. Let's just add a couple of loops here. And then let's just use our multi cut tool to cut all of this in place. So exactly we want an edge up here, and then here we want to have nice and brown fing along this line. So it follows the shape of the white piece. Let's delete all of the pieces on top. Let's bridge this, and then let's just fill this phase, delete the rest. Let's also make this nice and even topology by using trangulate and quadrangulate. And now let's just we could also continue this edge down here. So let's extrude this a bit good. Let's again, offset thickness. Grows to eat the big part, make it black again. And now let's add an insert on those guys. Like an offset on those guys. Oh, let's not keep it. Yeah, those guys. See. Yeah. Then let's add the baby on those guys. We can match those guys. Move inhibit into class like this. Pull. So we have this detail here. Looks like it's too big, I would say now that I see it, so let's just scale a little bit. I'll know a bit into place again. Okay, so now let's again, select the let's just move this in place first. This let's just select the porter again, except those guys here. We don't eat them. Let's extrude it again. Let's make it white, and we touch it. We have a slide in the section here, so let's move this out a bit. Okay. I think it still is too big. Let's make it even smaller. Cool. Now let's see if we have this guy, but we also have this small guy up here. So we should also create this, which is pretty much the same, smaller. And I guess for this one, we really can just duplicate this mesh, delete all but those faces. Add the beb on those. Oh, we should have taken one more phase here. This hum. Cut disguise like this bt, eat the rest. Maybe until here. Make it back for an hour, let's see. I guess we should move them down a bit. Maybe here to do the bit outwards. He's extra this as well. Let's see. Cool. Let's add a bubble here. So this guys stays sharp. And then, again, Let's offset to those guys. And let's extrude this again. We'll make them bit again and detach them. Maybe just to fix this edge a bit. It's a little strange to dig this one again. Fix those guys. Maybe it's too big, so that's add an edge to dig the outer ones. See. Yeah, this looks cool. Okay, then let's continue with those little guys we have up here, let's move all of this into HR group. Let's continue with those guys. Let's duplicate them. Let's see. So what we want to do let's scale them up first, they look small, to be honest. Yeah, let's delect this. Now, it's pretty straightforward. We just want to select those edges and those two edges and db so this works, and then let's just, this one, we can straight up. Babble smooth you delete the heaps, then this one we can smooth as well. Now, let's just a little detail here, maybe, so let's great cylinder six sides. Let's snap it onto this guy. Let's make it smaller. Let's just add this little add this little detail up here. So we have a little gray piece up here. Again, let's add a floater around it. This is gray. This is white. Maybe it's a little bit, so let's scale it down a bit. Sort. Move those guys in a bit. Here, something that is. Then let's combine all of this to onese so it's easier for us to duplicate and let's duplicate it to the position of this guy. Also, snip it Now that I see the concept, I guess this should be. This should be back here somewhere. So like behind these detail. So maybe here. Yeah, maybe we should move it back here. So let's move it roughly. And let's add a float around this as well. It's just way this. We got to duplicate this. We're going to smooth it like a couple of times and use it as our life surface. Then we're going to use the quad draw tool and just draw a nice floater around it. Like this. We can also go in and use the circularized tool and find it here on the mesh circularize to make it nice and round. Like this. Then let's just take the seches, extrude transfer them out. Let's smooth it. Put a white natural on it. And let's just move it a bit. Yep, that's it. And it's the same here. So let's use this again as our life surface. And let's start drawing whoop. Floater around here. Use circle glass again so it's nice and drowned. Let's move it it class. Now we can delete this guy. We can transform this out again and make it white. We can also add one around here, so we shouldn't have deleted just yet, so let's do it again. Move it a couple of times. Life surface pot drop. Let's create. Create de around here as well. Doesn't need to be perfect right now because we can use circulise. Anyway, circle, circulise. Let's move it roughly into position. Let's transpose this outlet. Now we can get rid of it, I guess. And let's make it wide again. Send the the pivot. It's a little smaller. Okay, looks cool. Now all that's missing is this little thick clear up on the bottom. Yeah. Then we have the wing done. So let's just create cylinder, some of it here. Let's make it only 12 sides or eight sides. Let's move it roughly into position here. Okay, I think it should be somewhere around here. Let's make it smaller. Let's get this guys in a bit. Move it in wall. Let the big pieces again. Create this nice etch around here, and create the float again. Okay, please. Let's patch this. Let's make this gray again. Oh, great. This one white. Let's move it a bit. So here? Yes, it looked like it was a second one up here, smaller, so it's just duplicate it. Move it roughly into position here as well. Cool. Let's just make sure that those two floaters have the same size. Like this. Okay, cool. So I would say the first wing is basically done. So let's select all of those guys. Put them in a group. And again, let's align this group with this box again. And let's mirror it. Move it in our group then. This means we can hide all of those guys for now. Those guys should be in the high group already. So that's all that's left. Let's work on those guys. Looks like they are cut up here. So yeah, let's do this in the hi police. Let's duplicate one of them first, and let's hide them already in our out pretty easy. Let's add a loop here. Slide it up and move it down. Op, slide it up, not down and move it down. So we can add this black piece. Let's see if we just make this one plex. Exactly like this. So let's detach it here. Let's make two meshes out of this. Let's fill this hole, fill this hole, and then just babble the whole piece. Same here. We will demote piece. No fraction. Let's see. I guess those two should be roughly the same. Okay, looks good. Here again, let's just delete the caps. Let's move them up a bit. And it looks like those guys are not wide enough, so let's select some edges here and make them a bit wider. Okay, that's good. Yeah, and move this one and again, create a floater. So let's smooth this one a couple of times. And let's do the same as we did before by creating it. Like this. Again, circularize is our best trend here, so we don't need to be super precise while we create it right now. Just circulize it. Now it a bit, so it snaps again to the whole surface. And, a, let's transform this outwards again, make it white. It looks good. So this one is done as well. So let's select all of those guys. And again, bind those guys to one piece. Let's show there. Looot snip it and bake it and then mirror it. Then let's go to this guy. Duplicate it. Let's see. We should we should should be easy enough. Let's detach this ste. So we'll have two separate pieces here. Let's combine this. Let's just put a bevel on all of those edges. And then let's fill this hole as well. Maybe we should even put a small bevel on this guy. Yeah, it could work. And the rings are like that of those guys and also bevel those guys. Maybe a bit more. If we go over one, you need to make sure where the error happens, because one means that the grated edge is meet now and we don't want it. So we got rid of those. So this looks cool. Then I guess that's the only missing piece for now. Ints let's see. Yep. This one should be fairly easy, Well, I would say. What I don't like is that this is in the center, maybe we should move it up a bit and make it smaller. So it's a bit asymmetrical. I guess we should. But before we do this, let's duplicate it so we have the blocked still there, in case we don't like it. Let's rotate this a bit and let's move it up a bit, But let's do this guy first. So let's detach I'm just thinking could do three layers as well here, like here even though it's not in the concept. Now, let's not do. Let's keep it like this. Separate those guys. Oh, don't separate them. We didn't do it for the other ones as well. Let's just extrude This is a bit. Check. So this looks like super soft surface. And what we want is just have the connection right here. So it looks like it's just laying on top and not stuck in there. So let's add this edge ring around here. Steady the rest. Well, let's extrude these inwards a bit. And let's add a small babble on those guys. Cool. Now, if we look at this, if we want to add a babble on those guys, let's take a look. I should, it looks cool. It looks soft. Maybe we can even get rid of this inner one. Yeah, it looks cool, yeah. Now let's do the same to this guy. So we want to extrude it inwards a bit. We want to select all of those guys and bubble them. And it's perfect. Ol, then let's just take this guy. Let's extrude those guys outwards a bit. Maybe let's move the whole thing in a bit. Let's make sure it doesn't in the sector. It would be bad. My out a bit, okay? Let's detach those guys. We don't need those. All this here. Let's move this in a bit. Yeah, again, let's create the float around here. We can just delete all but those. Let's a ring here and just scale this up basically and make it white. Let's hold it in stip. Cool. Now, all we are missing is some floater details that I can see. So let's see. Let's see. We should add one along the center, it looks like, and we should add one for this PCR and for those cars. And for this car. So let's do this. Let's start by let's start by creating a center one, let's duplicate this whole thing, and let's just bevel this. And that's going to be our center do. So let's see if we move this now at the center Lupia and transform them outwards a bit. We should have a nice V bevel here. Yeah, nice. So what we want to do now is create floaters for the rest. So let's select this guy, the sky, this guy. Not this guy because this already has to float down that side, so it's laying on top, so we don't need to float around it. Let's make duplicate of this. That's the basic before. So move it and use it in a live surface. But as a starting point. Oh, we don't even need this, I guess. Let's see. Now it looks like we don't even need this. Oops, this one. We could just duplicate this guy. We need all but this edge and make sure we have a nice edge here. Then let's just skate it up and move it in a bit. And that could work already. Same on these guys. That's duplicated. I had a nice hide edge around here. Let's scale it up again. Now what we want to do is make sure those floaters all connect and they all have the same thickness. So make them white all of them, and we want to invert those two guys. So this thickness of one of those guys needs to be this thickness, so it's a little too thick right now. And this one is a little too thin right now. This works, pull. Now, it looks like this guy is not completely in the center, which is not good. So you want to move them completely in the center. What we want to do now is combine them. So the easiest way to do this is let's just delete those edges those faces inside here. We don't need them. And then let's just take the multi card tool and let's just add a V here, basically. Let's delete these inside edges. And we s one. And now let's move those guys in same on this guy. A V where it meets this guys. And let's just move those guys into position. Same here. Here. We don't it out of disguis here. Oop. Just those guys. In And it's basically. So if we smoove this, we need to detach the center edge though. Same here. Let's move all of it. And let's take a look. Okay, it does look cool. Okay, our whole piece looks cool already. Let's just Oh, yeah, we could just add float this around his eyes now, but that should be the so let's let's duplicate this guy. Let's duplicate this guy to use his life surface again. Life surface, and let's snap those guys onto the life surface. Oh, this didn't work as I intended it. But let's do without the live surface. Let's just rotate it a bit. Scale it up a bit. Smooth it, make it black and weld it. Let's just make sure it doesn't intersect with it. Niceness. Scale it down a bit. And now we still have this pivot so we can still just rotate it and it should fit. Okay, cool. Let's move those guys into HR group as well. Also, those grass. Then we can select all of them for now and call them PET, for example. Let's also create the layer for them, so it's nice and organized, HR LA and we can hide all of this now. And that's basically, that's basically the high pool of the pet. 13. 11 Headphones High Poly: Now that our first hot surface piece is done, let's continue with the second one. Let's do the headphones. Let's start by hiding everything but the headphones. Okay. It all of this, tight the hypol and let's duplicate it, we missed something. Okay, so let's hide all of this. Type this, and then let's duplicate it. Then let's tie the whole blockout layer. We lost some shaders, so let's reassign the shaders. Okay, cool. Yeah, let's just start with the head ones here. If we take a look at the concept, I have it open on a second Mte. It looks like we have those big planes here. There is this ter smoke, so Let's start by dividing those two pieces into separate meshes so they don't blend together while shading. Okay. Now, let's just try what it looks like. I guess we should make this a little smaller this distance. See if those guys are perfectly flat. If not, let's make them perfectly flat. And then let's just let's just try bubbling them. So we have these shapes here. I guess we need to have more volume here, so this needs to those guys need to make some volume. Like this where we just scale those guys down. Like maybe. Now let's try it again. I could work. But I think these planes need to be bigger. So let's go down a bit, up a bit, and let's make this a bit bigger. Maybe by screening it back a bit and up a bit again This I did edge looping this guy. Strike. Yeah, this could work. Okay. Then let's make sure that we don't have this pump here. And through that we're just going to spin out those guys with samples. Si. And here we're going to do the same, but with closes not. Maybe we just do it manually, slide them back a bit like this s here. Yeah, this could work. Let's add a loop in the center. And let's delete the bottom half. Let's separate those two. Let's bridge this so we know we have something to align our pivot to, bake the pivot, and then let's duplicate it down and let's leave this seal. I think this should work. It's this works great. Now let's work on this guy. I should be very easy, so let's just build this. Then let's select those two faces and put a bevel on it. Those guys we can with it, and then let's add some age groups. So we need supporters here and here. In, let's combine those two guys. Let's make sure everything is merged here in the center. Then let's extrude it in a bit as well. Let's will extrude again, extrude it in a bit with an offset and extrude it again. Let's also add a be on this guy. And let's delete the inner one, this guy. Okay. See. This looks cool, I would say. Then let's do this guy. I guess, yeah, it doesn't fit anymore because we edit it. We can use the so if we poke this again, we can use the snap together again. Snip it here. I would say, let's make it a little smaller, maybe. And I think it should be black looking at the concept. Okay, then also extrude this in a bit, make it smaller. And then add some bubbles on those guys. Cool. Then let's duplicate it and let's create the floater that should go around it. I guess bit, make it red. And let's make sure there's no distance between them. Cool. So now let's go to this piece. I should have this connection here, and then this piece outwards. Yes, we should detach those two days, make sure this one goes in further. On this guy, let's see, we want this to be sharp intend this to be round. So let's just try adding as a port alios a port elo maybe. Let's make sure it a same distance a here. Well, let's try. Maybe we should make it round, this whole thing here. We try that as well. All we would need is a new quick pipe. Yeah, let's try this out. Let's duplicate this. Delete everything but those guys here. And let's try it again. Let's try adding a nice bevel here. Connection in the center again, and then quick pipe this one. Let's see how this would look. Yeah, this could look better, I would say. So let's try moving it into position. Let's stat this. Let's keep it more radius, I guess. Dest, Let's this guy. Yeah, this looks better. If it just as a pot here, there should be. Yeah, let's just move this one out a bit here. It's a part here. So this connection hard like this, let's fill this pace. Bevel those guys. The guys are hard. We only need one. Edge mio. That's still the same here. Let's fill it up. Yeah. So let's just move this up a bit. Move let's move this in a bit. Try to get this effect into position. Oh, yeah, this is not round, so let's make those girds round with circles. Then let's just add those. Sub this again. It looks better. Okay, cool. Now, all we need to do is mirror this guy. So I would say let's add a sent the piece so we know where the center is. Align it to this rich, bake it and Mirror it. Let see. This looks cool. But in the content, it looks like we should have a corner here. So let's move this edge out. Let's see. Maybe not as much, just eight. My just like this. Scale it up a bit. He play a bit. That's cool. Let's just do those words in a bit. Okay, cool. Yeah, let's leave it like this. Then let's take those two guys. Maybe we should make it go all the way around as well. Maybe that would be easier for us. Let's do this. And let's just do the cake this for now. Let's make this straight. And let's if we extrude this phase like this, I should work. Let's add a here. Let's make this smaller. Rot it a little bit like this, I guess. Let's just move this into clast connect on top here. Could look cool. Okay let's just fill this. Let's just adds a port here now. And there's one supporter here, two supporters here. And butter here. See how this looks. Now we just select all of those guys and add an offset. No, let's just select the center edges here and connect them, and collect them. Then let's make sure we delete all of those guys here. Oop Also all those guys on top here cause we don't need any of them. Okay. Then let's just select guys here. And let's make sure they move outwards a bit, so actually goes around that piece. Like this, maybe even more. See. This could work. Okay. Then let's narrow it. Then combine it. I guess it's a little white, so that's one get a little smaller. Okay, cool. Now let's do the top piece. I should be fairly easy. We can, first of all, detech those two guys make two meshes and then bridge those edges here. So we have one surface underneath. And let's aolate this one. Let's get rid of all of those guys. Exactly. So we have one surface underneath, and then we want to have one surface on top. So let's do the same here. Let's just select the edges and itch them. Now let's select all the hardages here. Not those guys. That it. Okay. And then let's do the same to these guys. But first, we want to extrude once with a slight offset. Secondly, now we want to select all the hardages here, not those guys but this ones. I want to have those guys for sudo have these ones. But we don't want these edges in there. Middle here. Just want to slight those guys into case now. Yeah, and that's basically it, I would say. So we can select all of those guys, group them, and I'm mirror them. Make sure all of these edges are in the center. The cool and let's do artistorytex book looks like this and move them into both times. And now let's move it into the hall. Hypoto let's show the hypoto. Show Los Good. Now, let's just continue with the rest of the headphone, like this. Piece and bottom here, and then do the connection. So let's again, select all of those guys, duplicate them and put them out of the group. And let's start creating the hikula of those. Okay, let's start with this big block here. So this should be one piece, basically, but without those guys. So let's detach this. We just want this basically to be one piece. So let's um fill this out. And also, we don't want the top piece to be part of it. So let's let's do this as well. Let's let's add some loops around here. Like this. Let's make sure this edge lines up with this edge. It's nice and straight. Okay, let's add a loop. And here, I would say. Then let's select those guys. Hop. Yeah, that's roughly what we want. And let's detach this guys, as well. Detach them. Okay, cool. So now this piece should be one smooth piece now. So let's delete all those edges we don't anymore. We could keep those, I guess. We keep those. I guess um maybe only we should get rid of those as well. Okay. Also because we're going to extrude those guys anyway like this, we could also make sure we have some more space in here so we don't get holes. So let's just move those guys in a bit and up a bit here. So this hole is smaller, basically. Okay. Now we basically want to bevel all the edges, so let's try this all but those guys. Direct this. Hey, cool. Before we do this, let's think about something else. Breed a chamfer here, for example, I could look cool. Hmm. So let's select all of them again. The hard ones at least. Let's maybe let's not select those two guys. Let's do a bubble again, hm fa. Okay, let's see. Now, if we look at it, this looks cool. And now let's do a softer ones on those two guys. So we have some nice different bubble thicknesses. You should even do it without see how this one looks. We'll do it like this. Then just a support to here. Now, let's do normally. The other is just support. Okay, let's cut this here so the shading doesn't get stretched so much. Okay. Let's do it. Now, let's take a look at this guy. I would say let's make this one flat the first thing, and then let's do something similar that we did to the other fm. So let's um Let's cap this and move it inwards a bit. Now let's let the hard edges again. But not those two guys again, and that's Bablus. We don't can collapse those guys. Then let's select those guys again, and let's do a very soft bubble again. Like this moment. See. Yeah. I just looks cool. Now, to those guys on top yet, let's try selecting. Or let's slide those guys to the corner first so we don't have so many pitches here. Okay. Yeah, that's much. Then let's select the hard edges, those guys. These should be should be all hard except described basically. And let's babble them. Let's see how this one looks. That's basically what you want. It's just too hard right now, so that's a little more. And let's see why it fails. Io this edge here. So let's get rid of this edge. Nice. This looks better. Cool. Then let's select Oh. That's strange. The border edge. And let's see if we can add floater. Touch this guy. Let's see. Here, looks cool. So float as well now. So what we need now is those buttons. Well, yeah. Those guys. The easiest way to create those guys would be either we extrude every face here with keep faces off and then offset it. But if those are not enough faces, we could just create a new sphere and add more faces, but this could be fine. Let's see if we add supporters here on the sides. Yeah, this is the way it looks cool. So let's just add insight here as well. Yeah, that's good enough. That's the way it looks like a screw on one of those machines. Okay, cool. So we don't have to redo this three times. Let's snap do it here. Duplicate, move it here. He did the other one and duplicate it. Move it here. I guess best case with snap together. So it says the same alignment, then move it in. Cool. Okay, cool. So now, all you are missing are those little connections here. Through that, let's just duplicate these guys and dent but those two. Um, those two places, and then let's just reach it. Delete the corners, or delete the caps, revert it. Move it into place and smooth it, let's see. Yes, we have to scale it up a little bit, move it further into place. That looks good. Now let's try adding a float down. Detach it. See? Shouldn't have moved it so far in, I guess, so let's sce it out a bit again. But that will work. Let's just maybe move it in a little one. Cool. And then yeah, let's just mirror it. To the other side. Okay, so now this box is also done. So all we need now is this connection here. So let's start with that guy. Let's see all that start here. Let's, let's duplicate our slides first. Let's see. Then let's there. Then that's right. So let's start by thinking about this connection. Maybe we should add some difference in size here as well. Something like this. We don't need an inside. This. We have this. Let's just try some of this so we select all the height looks here, just add bevel. Again, here we only need one. Same here and here. Okay. Best case, we can just smooth this without anything, and it does look fine. So now the last piece here. I guess we will make this a bit longer and a bit thinner, I would say, it should be like here roughly. We did the insights as well again. He bit. And let's add some loupes topell. So we have this guy here. We should and a little bit, let's see it like this. And then we just need to move this guy into position here. Ij this maybe. Well, let's scale this one a bit. Now we're losing a bit of volume, so let's try just making this a little bigger here. Los better already. Let's see. Moving into this group. See how it looks here. I think I think that looks cool. So that's the headphones and the connector piece then. 14. 12 Cup High Poly: Now let's do something easy. Let's do the cup in the meantime. So let's duplicate this. And let's see if we want to have it should look like just a regular coffee cup, so we want to have this lip here where the top piece holds onto the cup itself. So we want to live it like this, basically, right? But what we also want to have is bigger. What we also want to have is a lip here where you can actually drink out of. So let's think about that. Normally, it looks like something like this, we have a lip here, and then here we have the drinking thing where we drink out of. How could we get that done? Let's see, we want to have stop piece here, and then we want to have this insert here. So I have an insert at the bottom, I guess, Okay. I think this should be scaled up, I guess. Okay, let's detach this two guys. Let's do the boo won first. So I would say, let's just extrude this up a bit. Let's add some bubbles, nice and round so not too tight. So it looks like the real life example. I like this, maybe. Okay, and the top piece, let's put a different let's put like white on it, so we have a nice difference. We want to have this lip, so let's try to do this with a lettuce with a sentle subdivision. So what if we just move those guys that's Yeah, that's clearly storing went wrong here. Select those guys again and do elect this, and let's move. Let's reset my move tool. Oh, yeah, artworks. Then we want to yeah, just try moving those guys. Let's do it again. Let this change those to three, exactly. And now we want to move this one up and those two guys down a bit, I would say. But we can do so it's not this angle. We can go to the to the influences here and change this to some higher values. Then we get a nicer curve here. So let's just do 101010. And then let's see how this looks if we move this around a bit. There maybe something like this, so we have this nice loop here. Study down history. Let's cap this one. Then let's start editing it. Loops again. So we want to have a loop. Then we want to have a loop here. Nice one and a rather tight one here. Do you know how this looks? This one might be to too big, we want to have this very nice and soft here looks good. Then we want to have a nice and soft loop here. So this one shades very nice and soft. But maybe slide those two down a bit. It's clear. One in the center. Nice. And the rather tight one here again. So we have a nice differentiation between those between those loops, yeah, but this looks like a cup already. So all we need now is an opening for drinking at the top here. So, let's just do this. Let's duplicate this so we have some faces to work with. We need all but those faces. Nice. And let's add a separate piece here. So that's our drinking piece basically. Let's make it t. Let's move it a bit BU. Should shade. Round. Okay. Then let's see if we just add a floater around this, a white one. And we detach those two guys, how would that look like? Detach component. Oh, no. Hitch component. See. Here, this could work already. Maybe that should be fine. Maybe we just need to make it a bit smaller. And then move it up a bit. Yeah, it looks cool. So let's add a floater on the red piece. Let's still be there, but those guys let's move this face around a bit. Or what? Let's switch it and make it red. Okay, cool, but this array looks like a cup, so let's group it. Call it. Call the group. Cup. And that's moving into our hypo group. And let's call the cup done. 15. 13 Metal Detector High Poly: Now let's continue with the last piece that will not need sculpting, the metal detector. And as soon as the metal detectors done, we can start working on the other items that will need sculpting. So let's select all the pieces of the metal detector, duplicate them. And let's hit the Block card for now, and the hip piece as well. Let's reassigned the chair that got lost, and let's start. Let's start. Yeah, let's start with that gap because I guess it's easy. And we can just smooth it, and that's it. All we need to do is take care of this part. So I would say we detach this cap this and bebel this. So we have a nice beb here. Song for this guy, cap it, Bb those two guys, exactly. Select on the film, bebel them again. So we have hot loops, and that's it. Maybe this one is a bit too big. Okay. Let's make it the same size as this one, then. Good. Then let's support this here as well. Cool. Here at the end, let's do the same way. So let's move this down, so it's flat with this guy. Then let's cap it, double it. Ever so slightly. And put some supports on it. Okay, cool. Then let's continue with a flat piece, for example. If we look at the concept, it looks like it has a button on it and some detail there, but the rest looks fairly simple. So I would just say we select those two guys and bubble them, so we have a nice am top and bottom. Then just select all the hard edges here. Yeah, those guys bubble them as well to have a nice support groups there. Maybe it's some groups here, so it doesn't stretch it highlight too much. That's it. Let's make this grave now so we can see it. Okay, cool. Now I would say let's add this button thing in the center. Easiest way I guess is just duplicate it. C everything but lows edges and just smooth it a bit. You're roughly at the position of the button, the concept, something like this. Let's extrude it a bit with an offset. Let's extrude it inwards as well. Maybe too big, like this. A bit smaller as a whole. Let's see. It's all right? Maybe it would be the best. Let's see if the collars are round, so let's try this as well. Based materials is just absolutely sar. Okay. Just select those guys and babble them with a couple of segments so we have something to work with. And extrude this again. L S. Yeah, this looks good. So let's select those edges and give them a beb as well. And then let's just manually connect them up here. So the center edge doesn't stretch too much and add one loop Cool. We can move this out just a bit and duplicate again, get this edge loop here and create a load a little it. Best way to do is use the transform components, clip it, move it out a bit. Strange. Please. Et's line the pivot again. Back it, then move it out a bit. It looks cool. Now we're only missing this thing at the bottom here. Let's just create a sphere or molar though, only like we by eight or something. Let's still eat half of it. Let's tap the face here and then use snap again so we can snap it onto its face. Then let's try to move it to the center of this face, so it's in the center of the whole piece, and then scale it down a bit, make it a little more flat, I guess, and delete this and create our floater here as well. Like, again, we want to detach this. Make it all gray. Yeah, it looks good. Okay, then let's continue with this guy, which is fairly easy, I would say, because I cannot see any details except insert here, something like this, maybe. It's the only thing I can see right now. Maybe we should move this down a bit. So it's keep it in the center. Yeah, let's keep in center, but let's make it a bit tighter. So it's only ping seems slightly. Is it a bit smaller. Cool. It looks like there's a line up here, like a separate material. So let's do this as well. Something like this, maybe, which is let's use our brown for now. Let's extrude this a bit outward, so it has some to it. And let's detach those two guys, and also let's detach this one in the center. Now, let's select those guys here. And pebble dam. Like this, maybe. Let's see. Here it looks cool. Then let's manually just add support for this guy. Just on the outside, should be enough. Cool. The same here, we're gonna just add support this here. Cool. What we can do is and float around this guy, but we don't really need to. But let's just give it a try. Let's make them gray. Do you touch them? Yeah, we can do this. We don't need to. Let's keep him for now. Okay, cool. Then let's continue with those guys. Let's see. It looks like they are bending a bit, so let's add an edge slope here. And let's move it in a bit, so we have this little bandage here. Let's slide it out before a bit and then move it in this. Cool. And then I would say, let's again, let's add some padding onto this guy by moving this out a bit and then like this and make those guys black. Let's try this. So also, let's try to cut this one off nicely here. But this, I would say, Wastel it is. Let's up this and that's beverages. Yeah, it's okay. Now let's move this in a bit. So we have this. Oh, it looks like it's not in the center. You will have to rearrange this later, I guess. Okay, cool. Now, let's detach those guys. Um, I can fill this one up. Maybe add a chem for here, small one. Then let's just select those guys that should stay hot and add a chimp for them. I like this. These stars look cool? Does look cool. Well, let's work from this guy. Let's fill this again. Then I would say let's extrude it a bit and wear the bells. How does this look like? Too much. No. It a good idea. What if we just offset those guys a bit? Make sure it's all black. Could work. I guess. This bubble is too big. So let's delete that for now and let's redo it. Or let's try how it looks like if we don't have a ball. This will work if it better, it's, let's do a very small one like this. This looks good. Okay, then let's make this black as well. And now let's take this thing and let's try to move it into the center of our item of those two items. So let's let's align the pivot here and break it down. Then let's just move it a bit. And let's make those guys longer. Let's see. Are they touching here already? They are touching here really? Cool. Okay, so I guess it's in the center now. Okay, cool. Then let's continue with the monitor, for example. Okay. It would be cool if they would be round at the bi, I would say. Round at the bi, and then a little cutout for this guy. Okay, then let's get this and let's just start from the box again. So let's delete those guys. The pivot, it looks like it's broken. Cool. Let's see. Will have a monitor like this? On I would like to have it around at the back here. What we could do is just do a poll with this fear to try this, let's see. So let's create this sphere. At half of it, create the face in center, snap it together here. Then just scale this up how would this look? We do something like this. This could work, but then we love this pole. I guess the best way is just do it manually. Okay, so we want it to be band a bit like this and also like let's just do it a bit too much, and then let's use the barrel. So we can add a couple of pass here. That's something that needs moving. Then let's get rid of those guys. Go. Let's move those guys apart a bit more. Okay cool. Let's select them all. Move in a bit because that's like to round right now, we cool. And let's think about the insert here for this guy. So if we want to insert those faces. Let's see. Let's cut this in first. Cut it straight quick here. Same here. And then let's take those faces for now. Now, let's extract this back. And let's bridge those guys and those guys. And now I would say that move them in a bit so they have some ember here. And also, let's move it in like this. And also let's move it up a bit. Is it a bit too big? Yeah, let's undo this. Um, it's too big if we take those faces. Maybe we should just maybe we should just throw a babble on those guys here. Just do a smaller insert. Let's see. Maybe like, we just like this. Let's get rid of those guys for now. Oh, let's, um, let's do eight d from those guys people. And let's do the same that we did before, but now with those guys, yeah. Yeah, it should work better, I would say. Yeah, yeah. Let's connect this. Okay. Let's see. Hey, we just have to move this guy around a bit, but let's finish this guy first. So to have this face is straight because as you can see, if we look like this, it's super twisted. Just have to select this edge and scale it down a bit. Okay, now this is a planar face, and this is a planar face. Cool. Cool. Okay, then let's select the corners here because I would like to have them round. Yes. And then I would say, what happens if we just select all the hard edges and build them? Let's give it a clap. Well, first, let's let's add a chem for here because we want the champ for here for sure. And I guess we also want the imf. Oh, no, no, we don't want him want it here. Okay, select all the hiages. Level them. Let's see how this looks now. It looks not too bad. We just have to clean up some stuff. So let's do the solids. Add some um loops here to connect up those guys. Also do it like the same here. Connect up those guys. Sing. Cool. Then let's work. Make this one work, but just adding some. Let's. And for this, let's see what happens if we're just taking the center one? What's like a charm? Okay, cool. And let's keep it like this for now. What we can do now is we don't need it, but we could create an insert or something here. Yeah, let's try this. Let's just duplicate it and just only keep those guys here, only the centel center frame and let's just what happens if you just skate it down a bit. Et's see. Like this, maybe, add a floater or create a floater for this. We could do something like this. Sure. Okay, cool. Let's keep it like this for now. And let's continue with this guy. Looks like it's just like a metal piece wrapped around and is put on top. So let's do this. Let's it's too wide, let's scale it down just a bit. Maybe just like this. Yeah. Then let's delete the inside here, cap it. Looks like it moved a bit, so let's move it back again. In the center. Cool. Now, let's just select those guys again and chef. Now let's work with that guy. So it should touch this guy here. And then it should also touch this guy up here. Like same for this guy. It should be moved back a bit and in, so it touches this guy at the Okay, cool. Now, let's add some chim fas on the end. Set the sent paths here. We can also, we don't need. Let's select. Let's select nothing. Let's jump for everything, though. 'cause we want a nice clean bub on everything. Let's just want one in here, though. That's about it for that guy would say, all we need now is like some screws. Let's just use this guy for here for the screw's move this one up. Make it a bit smaller. And let's use them as screws here. Try to align them. Probably. Okay, cool. Let's make this one black. Maybe a bit smaller still. Okay, let's duplicate it. Cool. Same up here. So we're going to duplicate again and move it up here. Like this. Nice. Okay, then let's continue with this guy. So it looks like this is one piece and not two pieces, so we have to connect those two, I guess. And then, yeah, I guess the shape is already correct. I think we just sil off maybe the top part, like a piece of it and make it gray maybe. Let's see. Could be could be. Let's see. First of all, I would let's see, we need to rotate it a bit, so it's actually aligns with that guy. I like this. I would say let's let's rotate that guy. Until those two edges line up like this. Okay, that's good. Let's delete the insights here, it. And Bolton we could do so we can pull them together better if we could we could smooth this guy once by first detaching those guys so they don't get smoothed and then smoothing them once. And then we can delete those guys, and we don't lose our arditue and combine it again, and that's it. Okay, cool. Now, let's try, let's try. So let's add some edge loops first where those edges are. Let's here, here. Let's make this tiny bit longer so it doesn't dissect you. It looks like we need to rotate this a bit NT. So the bottom one lines up as well. We make the pivot bigger by using plus and minus on the num key. We can do it more precise. That is for rotating. Let's move those down a bit. Okay, now let's see. Let's both of them and use pulling Union. Read our history. I should have. Let's go back. Try the pulling. I should have knocked them down after the rotation. Okay, again, Pooling Union, late history, optimizing size. And then let's just merge those guys together. So that's one word, those two should be one word, one word. One word. Let's move this in and up. That's all one word, one word. March those guys, March those guys. Those guys. Those guys. And those guys. Now, if you look at it, Looks good. Okay, cool. So all we need to worry about now is, how it shades. So I would say let's because it doesn't even shade too bad right now that connection, let's just add a loop here. Let's slide it down a bit and then move it out so that the distance is always the same. Then let's add a loop in the centers here. Then let's offset those guys a bit. And then let's add a loop here. Like this and this. Again, let's slide it down and move it up like this. Then we just move those guys into place again. Same here. Slide off. Move down like this till they meet, then move them into place. Match the whole thing. Yeah, this looks cool. So let's worry about those guys. So this one should be rather hard. So we want g again. Same on those two guys. And then we want to detach this guy, and it does to gas or maybe we want. Let's make a small Bb and then add some supporters. Yeah, we didn't want this, but let's just noxious. Again. And then let's add some supporters here. So one guy like again, this distance should be the same distance as the supporter. Same here. Oops. Here it looks cool, still the same here. Small chamfer up here. And let's add some pot loops. And then let's add a loop here. Slide it back and move it down again. And again, you look slide it and move it. Like this. Hey. I guess this is too tight here. So let's some loops and move it ones around. Let's the center better. Better. And let's give this more space by moving this out a bit it's a little bigger. Yeah, it looks cool. We can also. It's not in the concept, but I guess it looks good if we add some spruce up here exactly like this. Okay. And here as well. Yeah, does to cool. Let's keep it. Okay, now let's go back to this guy. Again, this should be one. He's at the end. Similar to what we have here. Just with holder, basically. See how we can do this. But First of all, let's move this up a bit so it aligns with this guy. Same here. Let's edge aligns with the guy. Let's edit the insights again. Let's think a bit. We should again before rotate this guy. So it actually lines up edgewise. Let's great there. We got view it again so we can make it more precise. Like this. Okay, cool. And then what if we just snap those guys now? That could work. Or should we even make it a bigger connection? Could also work. Let's do it like this so the connection piece is bigger than just this tiny bit. Cool. So let's add an edge here, connect this. Let's add an edge here connect and move it in places. Let's delete the inside fasta. Let's delete those places here. And let's combine it with one s Okay, cool. Now let's add loop on those two sides here. Let's Let's try scaling it down a bit so this is like a more round. Round thing that we have here. Couldn't make it top dump it just to be hard. And then I would say that's basically it for she I just need bubble it. Pretty simple thing. Yeah. Okay, cool. Then let's Let's select all the heartaches for. Let's see how this would work, which just leaves this bab on all hags again. Maybe it doesn't work at all, let's see, because I'm not a fan of this connection here. Let's make it bigger. But it looks decent. I would say, let's just clean it up, yeah. Looks good. So let's ring select those guys and collapse it. Ring select those guys and collapse it. Let's make sure those two guys are connected. Same here. This guy is not even bad. Just smoke it out a bit here. Let's bring some su and then collapse them, smoke them out a bit. Yeah, and I think that's it for that guy looks cool. Cool. What we can do here is float this again. So let's do this. Let's just dig it all but those guys and just scale them outwards. Cool. Then that's just move them to place like this and this revert them, don't revert them, but make them red. And I guess, make them a little smaller. Fit them in a bit. Good. Let's do the same here. So let's those two guys need the rest. Then let's scale this up again. Move down a bit. Same here. Well, let's scale. Let's make them red. And let's also move those guys in a bit again. Let's make this a bit bigger. Okay, cool. So all we're missing now is this cable here, which we hopefully can just move and add some parts. Okay? If we smoke this, it looks fairly good except this piece here and of course, the connection of both ends. So let's just move this a bit place. Cool. And for this guy. Cool. So the connection here, we could just use, not the thing that we used on the headphone, something like 90 Greinkl but like, so it runs into it more or less. So let's move this to the santo. Let's try this here. Let's duplicate it. Kick the last face row. Let's see if we just extode this a bit with an offset, something like this. And then let's duplicate it there. And now let's use poll cup this away. So poll hf is straight. Cooler not let's just extrudi. Let's just extrude this faces a bit like this. So we have a flat surface here. This do it by hand here. Cool. So this surface should be flat with that guy. Okay, cool. So now, if we make this gray, it should look like it's running smoothing to its grad. So all we need to do now is at some support loops on those guys. That's a part this guy, so it stays hard exactly here. And that's basically it. Let's Let's make it smaller here so it looks like it's actually running into something. Yeah. Okay, cool. This looks great. So let's take a look on top. I guess we want to do I guess we want to do something similar that we have here. What if we do? See. What if we do there are some metal connectors like this? Let's see. Let's duplicate again. All, but at everything that does. I just here. Match just here. We make this one. Metal. Let's just nice and straight. What if we make it a bit bigger at the front end? And then just small like this moe? Or what if we do it the other way around? Yeah, what if we do it the other way around? So we make it bigger at the end here. See how this moles. And let's cut this here. Let's see how this ends. I looks cool, as well, I would say. So let's just add a champ here. And I make champ for hipstern. And then let's just add pebbles on everything, so it's nice and smooth. Good. And then let's just I would say let's cut this one as well. And let's add a jam this guys Well first, I guess we have to align this This edges up a bit, so they're aligned with this guys full. Then let's add a jam on this guy, as well, and make it taste to go as hot. Red. Then let's do the exact same for the spa, so let's just duplicate it. Let's just move it to the side here. Then let's just at those gas and move them into place. Cool. Spill and Jon fathos gas as well. Okay, looks cool. Now let's duplicate this piece and move it here as well. So we have the exact same here as well. Best way snap together again. So it's nice and aligned. And let's just move it to position. Let's delete those guys and move those guys to the center here as well. Rotate them a bit so they line up, then let's do the same. Let's just cap it, champ for it, and add a pot. Okay. And that's basically it for that piece, right? So select everything. What one. Select everything within a group. That's what we're missing this guy also in here. Let's call it cl, and let's move it into our hypolcu So we can hide this from our brokes mill. And as we can see, all what we are missing now is stuff that needs to be sculpted. So in the next video, let's start preparing different files so we can move them to Ciprush and sculpt on them. 16. 14 Jacket Prep: Now that all the hard surface parts are basically done, let's continue by preparing the assets for sculpting. Let's start with the jacket. Again, let's duplicate those pieces that we need, and let's hide those two layers. For the arm, I guess we can split this one off. But before we split off, let's make sure it's exactly where we want that border to be. So let's move some words around here. So this is a nice and straight line, basically. Can also just cut a new one here. Exactly. Let's do the same for this line. Nice and even. Also, let's take a look at this, so let's move this in a bit. And also, let's make sure this line is exactly where we want to cut between those pieces of cloth to be. So let's make sure. Let's make sure this fits. This could be further. Okay. But let's say this looks fine, I guess, like this. Okay. Then let's detach those two guys, separate them into pieces. Let's close here and close it here. Then let's add some support loops in here by extruding and offsetting it. Let's do the same here. So we're going to close this one. We want to make sure maybe let's try this w. If we want to make sure this is nice and round, how would this look like? But the same here. Yeah, let's make it round, in fact, with the circulars feature from Maya. And let's bring it to Cebus like this and let's do all the moving edges around stuff like on a bigger scale inside Cebus. So let's support us on those guys. It's also a supporters here and like another loop. So supporter here, supporter here, and one supporter inside here. Cool. Now for this guy, we want to split it into different pieces. So let's delete the side first. Then let's see. We want to have this top piece to be a separate piece inside brush. We want to have the belt as a separate piece, and we want to have this bottom as separate piece. So let's split it into different pieces. Up here, we also want this to be a separate piece. So let's also split this one off. And let's start with this guy. So let's combine this for now. Or let's add another that's even better. Let's duplicate it in the center. Now what we want here is we want to extrude this one's done. First, let's again make sure those are nice and even those cuts. So what we can do, for example, is we can select all of those words here and add a lettuce and then scale the lettuce down like this. So this is nice and straight line. Let's do the same with those words here. And set this one like this. Then let's move those latest points up a bit. So this is a nice nice and even line. Let's little history. The rest looks fine. Then let's select those guys and let's extrude them in what's a bit like this, exactly. Then let's cap this. Let's move this word out a bit like this. Okay. Also those guys, we can just select and extrude them a bit. Well, let's see how does she work. Let's make sure this face is plainer. What it is already. Less. Yeah, let's like this. That's better. Okay, cool. Now that this is done, let's try selecting all the hard ages. What if we just pebble them, how would this look? No, we forgot an edge here, but generally speaking, it would be okay ish. We just have to make sure that it's not too like, too hard. Like it looks way too way too, way too point. It should be way softer, so let's it's like three or something. Maybe two. Let's see. Two could work. But again, Yeah, let's clean this up, and that's it. I guess we don't need two in here. We don't need two in here, so let's collapse those as well. Here we can just move those words out of it. I should be fine. Here, maybe we should just cut it here and decir. No, maybe not. Maybe we should just span it out better. Let's see. We send tools on those guys. Yeah, this looks nice and smooth, Grit. Here, we just want to move some of the words in place. So let's do some real cutting here like this, I guess. Then let's see if we select those edges here. Or antenplana that's too much, I guess. Be tissue is that this guy is poking out. So what we could do is we could also add a loop here. Maybe even get rid of this one. Slide this up a bit and make sure it's on the same level as this guy. So all of this is one line. We can do with just selecting two points and doing sin Loop, for example. Let's add some support here. We cut this. It just looks better. But maybe all of this should be a little tighter, so those guys should be a little tighter. Sled this guy. This looks better already. I still think this should be a little tighter guys. And also, I would say we would need a loop around here. Hey. Now let's select both and let's merge them. Let's make sure everything is merged here. As the dos guys. Now, let's make sure this is not quint here. So I would say, let's make this flat here. So maybe make all of this play. No it's too much. Senior. At least those guys should be flat. Et's move some words around until this is nice and flat here. This could work already. What if we get all of those guys here? Flat as well. What if you get all of those guys and pull them in so slightly. A nice soft selection. Let's see. Yeah, this looks better. Okay, cool. So let's keep this piece. Maybe we could also while I'm here, maybe we could also move just those guys a bit up. So we have this nice and round hop piece here. What if we added edge loops? Not so much but if we slide it out a bit, move it up a bit. But could look cool. Those guys should be moved down slightly. Let's slide those a bit again. So we have this nice round thing here. Yeah, this looks cool. Okay, cool. So let's now do the inside piece. And it's basically the same again. So we want to we want to make sure we extrude this down as well. Nice let's look at it from the side. So again, let's select those guys with a lettuce, and let's make it nice and flat. Same here. Then again, let's select all of those guys is. Also, let's do a lettuce, and let's also make those guys nice and flat. Okay, nice. Then let's make sure we extrude them inwards. So this distance is the same, everyone. Let's make sure this is in the center and we delete it also. Same here. Center, delete it. Then we can select those guys, move them in a bit. We should move these guys out a bit on the sexes here. L. Let's move all of them in a bit, I would say. So this is a little thick. Yeah, this again, center of near sexes So now if we again add a Lupia and move this up a bit, so this nice around again, we can add two supporters here and see how this would look like. This would look quite cool, to be honest. So let's keep it like this for now. Let's do the supporters. Also, let's extrude this guy to the front. So we have this piece in here as well. Let's make sure. It's a soft search, it's better while we look at it. Then we want to merge it, combine it, merge those guys. But we don't want to merge the front because in the concept, it looks like it's split in the center. So what I want to do is bridge this here like this. Also add a extrude dispec bit and just merge Tkas then let's isolate those guys into the same here. So we want to fill this hole here. We want to extrude this speck a bit and also only merge jkas. So now if we move it, those are separate. And now what we can do is add back those edge loops we had here. So those guys. But now we can also, first of all, let's make a bit. Now I see it a bit higher, I would say, so it's a bit roundo. Now we can add edge loops in here. And it looks like we have to split down the center, yeah, which is the same as we have in the concept. Okay, cool. Then let's continue with this chess piece here. Fairly simple. We just want it to continue underneath so we don't have this hole. So what we want to do is we select all of those guys and extrude them to the center. And we want to make sure it shades nicely. So while we do this, if we can delete some triangles like this one, we should totally do it. So in here, I would say this cuts like this so we can get rid of this guy. And if you combine those two guys, we have a court here, go here, go here, which is already not too bad. What we want to make sure is that we don't lose too much volume here. So let's add a loop. Let's connect this up, another one, connect this up and then connect those guys up. Now we want to select those newly formed faces here and transform them a bit outwards so we have more volume in here. You can see here we can just span them out nicely. Those new edges we have so we don't have a pinch in front. Same for those guys. The important thing is we don't lose too much volume so you can just take the soft selection here and just try to not lose volume here. Cool, we should span add another loop, first of all, get rid of the strangle and then span those guys out of it. Then we want to cap this again and add a nice bevel on those guys, so we have a hard edge where disconnect. Can also use those guys and move innugt. Maybe that's too much, but innugt that should be it. Maybe this guy should be not pointing out what sectors, maybe they should be straight with those guys. Okay, cool. See, maybe this is a little bit too pointy here. So let's move those guys out a bit. So it softens more. It's good. Same here. Let's add in support or here and move those guys a bit. So this is not as steep of an angle. See if we do the same here yet. We want to have this nice and clear cuts, so we're not going to do it on this. Okay, cool. And let's mirror this guy, combine it, and let's merge the center pieces again. Let's move them to the center of the X axis and merge all of it. Then also, let's merge, let's fill this hole here and add a nice bevel at the bottom here. But let's also move this down again afterwards. Cool. I spare here. We could even make this one straight for now. Good. Now to this bottom piece, basically the same as we had before with the different colors up here. We want to detach this red fin. We want to mirror that guy. We want to again let this piece continue underneath, so we want to move to the center of our scene. And for this one, we don't really need to do a lot, so let's just combine it and extrude it a bit. So we have some thickenings here. Let's delete the inside, and let's fill. Let's fill those holes again. Let's move this up a bit. Let's invert the whole thing. Here we should actually have some geometry because we're going to see inside this, so let's do this. By hand here, Okay. Let's make this bit sharp at all here. Good stuff. Then again, let's mirror this. What we can do here is just bridge those guys, add an edge in the center and transform it outwards a bit. Then again, select those guys and move them to the center of X. Let's make sure we don't lose too much volume here. We're moving this around a bit. Now, exactly. Now if we again kept this, we can add a supporter here, and it would stay disconnected. We're going to add some supporters here, so we have a nice and soft corner here. Stuff. And then let's combine it and only merge the big words here because yeah, we don't need them to merged. Now what we can do here is make sure we want to move this down a bit. But we want to make sure these ones are not interfering, like not sticking out here, so we're going to move them up a bit. Now what we can do is add two loops here, and move those two points down a bit and then use Additg loop on those guys here. So it still looks round. So let's move this down. Move it in a bit. Also, let's do a Bonds guys. As you can see here, the connection is different, so we should move this back a bit. So the distance between the red and the white is the same roughly. We can also add Mada here. You could give this a try. This could work ADH up on those guys and those guys. Same for the old skulls and those guys. So this is nice and round. Okay, cool. Okay, so the last piece that's missing is the belt. But let's add one Mlupiu while I see it. So this is a little harder. Okay, now let's mirror the belt. It's going to be fairly easy. Again, let's combine it. Let's use ADH lub on guys, so it's nice and round. Okay. Okay. So now let's kip those. Then let's extrude it out a bit like this. Now let's add support to everything on all those edges, basically. And that's our belt. So let's mirror those guys. Good. Okay, that's really good already for C brush. What we still can do is make this a little closer. So if we select only the inner words here, behind, I guess. Only those words on the inside here, and we scale them in a bit that could actually help us later on because right now it's super wd, so let's just scale them in a bit, bring them up a bit. Also, what we can do is make sure it doesn't interfere too much with our red pieces, so if we just push this down a bit and discuss down a bit as well. This could already help us lay down. Also here, let's make sure this doesn't intersect too much with our red peace. Exactly. That is all stuff we could also potentially do in seabrs as well. Exactly. Let's try what it looks like we move. No, we should also forgot about this. We should also add an edge loop around here stays consistent. Okay. Okay, then, let's group all of this. Call it jacket, and let's put the jacket group in a group called four Sebush. Okay, cool. So yeah, that's the first piece prepared for sculpting in sea Brush. 17. 15 Pants Prep: Let's continue by preparing the pens for Cebush. So let's as before, let's duplicate everything we need. And unparent it, and that's how it depo cot. Okay. The pens should be very straightforward. We just need to make sure to have a quart mesh in here. So let's add one loop here. Maybe let's even use flow on it. Okay. Same goes. But that guy, we might want to just get this edge right here so it's not pinching. We should try to make this nice and round. Let's see if we can get there. So we want to move all of this to the right again. Let's check it out with the rest of the pens. Yeah, somewhere around here, I guess. But here, I would say it's enough to just use Aid edge to get it roughly into the right position because we're going to use a lot of sculpting in this area anyway. Okay, it looks cool. Okay. Then like before we want to detach those guys, this is a separate mesh, this a separate mesh. On this one, we want to extrude it in again, first. So we have some insert here that we can let's cap it. So it's closed and then let's just add some support around here. And then let's also add a loop here and here. Maybe we want to even pull the loop out a bit like this. And then let's just add support loops on those figures, add support loops here, and then one here. Yeah, this should be good enough for sculpting. All I'm thinking right now is maybe we want to have the whole thing a bit bigger. So maybe we want to just scale all over it a bit up like this. Yeah, let's do this. Okay, then let's cap this as well. Let's scale this down a bit, and let's move it in a bit here. But then that's also add ape. Scale that one up a bit. An support down this guy. So this taste nice but here. And also, that's a and support down here. Okay, now, if we mirror this and merge it together, let's get rid of those guys. Make sure all of this is merged. Let's also get rid of guys, I would say. And that's good enough for sculpting. Let's mirror this as well. Then this guy should be fairly easy. All we want to do here is extrude this in as well, like this. Then let's slide all those guys into position. I should be scaled down a bit like this, so it's nice and consistent. Okay. All we want to do now is, um, Add some edge chops on this. So let's select all the hard edges. That it. Nice champ for you. We can again, delete those two and add one instead and add. Maybe you want to have a sky rounder. Yeah, let's do this. Let's make it round at the top here by deleting those two edges here, maybe adding mint of water here. Now let's continue with these guys. So what we basically want is we want two measures, one for the base and one for the piece on top. The piece on top, I guess we want to have it wrap around at the top here so that the isolate that's delete. But nothing for now. Let's just think about it. This one should move up like this, and this one should be the piece on top. Let's add this edge loop here so we have this connection, right? Now we want to detach it here. Let's make sure this is somewhat parallel to the top line here. Not like we're going to see it, but still, but this one should be our cut. Okay, before we do this, let's make sure we have some nice clean edges here. So we're sure it's going to shade properly. Okay, let's make this nice and clean. Stood for the B as well, even though we're not going to see the back. Okay. Now let's select those guys and detach it. Now, select this guy, and let's just basically fill this piece up. So we're going to extrude this ones. Going to move it up here. Oh up. Skip this together, bridge those guys, and let's add some support loop so we want one around. No, let's Let's make stuff. All the edges hearted. We want heart and let's select all the hetges. It's easier. Before we do that. I guess we need to extrude this once inwards so we don't lose too much volume here. Like this. Now, let's try selecting all the hardages let's see. Yeah, this looks good. And now let's be those guys. Again, let's first of all, I guess we need more than one. Let's five maybe. And then again, let's delete those guys and those guys, and let's just add one loop in the center. Maybe we don't even need the one loop here, so it's nice and round Let's keep it like this for now. Let's just look nice and around. The only thing I'm seeing right now is this bottom is too pointy, I would say. So let's just move those edges, those words around a bit by sliding them, so this gets softer. Maybe we even want to get rid of this guy and move this guy out a bit. Let's see what does it look. Maybe that's too much. But maybe we just may we just want to move it in a bit, like this. Also, those guys seem a bit too hard, so let's again select those guys, slide them a bit to make it softer. Yeah, way better. Same here. Okay, cool. Now, let's select the To part. It's isolate it for now, let's do basically the same, so we want to extrude this guy, move them into place and then bridge those guys. And all of the soft with this guy. Now, let's see. I think it would best again to extrude this slightly. Get an offset in and extrude it slightly. Like this. Then let's just try collapsing those guys. Then again, let's select all the heartaches. Maybe not the line down the center here, let's put a bubble on those cars bigger one again. Oop Let's get rid of this loop here again. See, something like this happens, easiest ways to delete the phase and fill it again. It's just an error that can a cure while doing a bubble. Generally, this doesn't look too bad. Just missing some support. So we need and support the up here, right? Then we need to support this edge. So first, let's add a loop up here and let's make this support, and so let's just end it here or let's see if this works. Then we want to add one support idea see how this looks now. Not too bad. Let's see if we're isolated. Not too bad here, it looks a bit worse. Maybe it's the best if we just take those guys and extrude them a bit. Can you move to do it. This couldn't work. Maybe we extrude it too much. Let's go back again. Let's take a. Yeah, maybe we just should extrude them. I was slightly, and move them down a bit. And then let's do the judge again. And let's just add one down the simple. Why not? If we just had this down the simple and none. I mean, all of this could work. Just a matter of preference now. What I don't like is this shading here. So what if we just if we just continue this cut so if we move those faces around a bit. Let's see how we can fix the sardes nicely. I guess that's the way to go. So we'll move this in, continue this champm and add one up around the whole thing. So it's the same here. So we'll move this in connect it, this guy. So this champ gets continued basically. And then we're just going to connect those guys again. Okay. Now, if you look at it, we see if it's hard enough or if you want to add a loop down here. But I think it's hard enough, maybe if we add a loop here, that could work a loop down the center here. Now, let's make these guys softer again like before. We just want to slide those guys out a bit, sing here, slide them out a bit. That's it. Now we want to add. Well, it's just again, that's movie out but it's even softer. Oh, no, that's not. That's fine. Now we want to add a she It's like a butle. Let's dig half of it again. Let's cap this. Let's rotate this. So it's in place, and let's squash it down a bit. And that's basically our media. Let's give it a white color as well. So we want to do now is extrude this backboards and add a support here. Then it's just rotate it into place. That's about it. Now, if you look at the concept, we can see that there's this lines down here. Um, that's the thing I would say we could add after we did the sculpting, so we can have it projected on top of everything and we don't have to worry about how the sculpting affects it. So all that I want to do now is I want to combine those guys and I want to move them slightly so they don't intersect as much with the pencil it's easier for us in cutting. So maybe that's also add like Lupia. And let's also get this wall your been a bit so it's perfectly straight. I just looks better. So it's heals up a bit little bit a bit. Exactly. Yeah, exactly. Now, this one as well. And let's group it pants, and let's put it into four brush group. Now, if we look at it, all we're missing now we hide those guys because we don't need the one. All we're missing now is the bag, the shoes, face and hair, and the arms and the rest is just minor stuff that we're going to complete as soon as everything is in Maya again. Brush. Okay. 18. 16 Boots Prep: Now let's continue by preparing the boots, so let's duplicate them again and unparent them. Let's first of all, detach the sole, and let's make this one mesh. So what we want to do first is we want to move this up. We want to make sure we don't have some weird bending here, so let's fill this guy. Let's see. We want to get some edges. We want to have this guy's flat and this guy's flat as well, I would say. Not the front to front, we want to bend, but the backgro want to have flat. Let's delete those two edges here. Let's add some Lucio. Let's see. This should be red or plainer, so we can basically use scale on component. So its this mod flat. That's good. Now, let's just slide those guys in a bit, so this pebble stays in nice thickness. Now, if we want to select all hard edges and add a Bible let's see how this shades because we want to have it nice and round at the back. A nice and round the front. The front, I would say, works fairly well. The back, not so much. So let's some slips back. And let's add more looks, basically. We also want to make sure this is hard. Let's add more loops. So we want to add one loop here, one loop here and use datal on those guys. Maybe we also want to slide those guys bit to the front and use a rope again. Well maybe a bit to the side. Okay. We also want to make those guys hard when we select all heartaches. The front did work quite well, I would say. We maybe want to make this line nice straight. Okay, let's try it again. Let's select all hard. And that's bare. Yeah, not too bad, I would say. So again, like Esme, Jasper, delete both here and make one out of it. Also, let's do a ring selection here and combine those guys in the frontier. And I don't want this to be particularly hard here. So what we can do is either delete one of them completely. Which should be fine. Yeah, one of them completely, and let's just add two supports here. So this one stays fairly straight. But we still want the slide bent. Okay. Now, this one is done, let's work on the Put itself. Let's make sure this aligned properly. So let's just snap those guys to the words here. Same for those guys. Okay, then let's add those two edges here. Let's use danos guys. You can also align those guys. Make sure it's soft. Now what we could do is make sure this is not because it's slightly twisting all of this. Make sure it's not twisting by making sure the top is rotated nicely. Like this. And then let's use Multi cut tool and make a nice straight cut here. Then let's use Edge on those guys. Just a couple of times deliver it for me straight. Let's some thissaiz cut. Let's see. Now we need to make sure we didn't move any of those words too much, so let's snap them back again. Let's check that boo itself fits nicely into this thing up here. I would say we should move it a bit to the front and a bit to the side. The cool. Okay, we can see if we move this, it generally looks really pretty good, pretty good prepared for sculpting. So what I would do is fill this. It's support opium, not supoglps, just some agency. Then ruts with an offset down, so it's inside our soul now. Then again, let's select all hard. Here. Should on live with those guys around there. Yes, exactly. Let's shame for it. Let's do what we always do with stuff. Oh, this should not be. Bevel so let's slide those guys back to where they should be. Merge everything. Okay. Now let's see how it fits into. So if it's nice, what we want to do now, as we can see, we have one pi, we don't here, so this breaks off. So what we want to do now is add some edges in here. So this days nice and tight here, nice. And we might want to add a duper to add up this edge to stay more angular and also let's add two edges here so those two guys stay a bit more angular. But I would say, yeah, that looks pretty good. So all we want to do now is close this guy on top again, L extrude it, we offset, and let's add some loops again. Okay. Group it again. Woods and it's moving into four zebrcop. Okay, nice. Okay, so not a lot of stuff missing. 19. 17 Gloves Prep: Let's continue by working on the gloves. So let's duplicate them, as well, let's take a look. The plan for the gloves is to prepare some basic meshes in Maya and then dynamesh it together in Cebush I would say, because that's just a very fast and easy progress. All we want to do is now to prepare those couple of meshes that we have so we can dynamesh them. So first thing I notice is we are missing a strip up here. So let's delete the rest of this and let the strip piece up here. We want to make this one red as well. And let's move it out a bit. Now we just want to make sure those guys are snapping we also want to make sure our globe is nice and dry so we add dupiaga Etchia. And let's delete those guys, and let's combine together. Okay. Then up here, let's see. This is not even too bad for dyno meshing. Because we just don't have the rough idea of where things are. Yeah. Let's add some more HCs with Multi leave. So you want to move this in this. And now to put it, she doesn't make it all week because we're going to dynamch at the end inside the brush. So let's just move everything roughly into place. Let's at this face here. Let's facing here makes the eating. And the facing here, oops. So this looks kind of fine. Should slide this up a bit. The fers I would keep like this, like sticking then. What we can do is, what if we add more loops and use added on these guys. It's the only thing I would do now. So they are not just cubes. Okay, then let's make sure they really intersect. Oh, so let's make sure this is moved out a bit. No. Spacing, no. Snap discrete move. Okay. So let's make sure all of those really intersect. And let's also make sure those are not too weak, so let's scale them stick down because I don't want the fingers touch at the basio because that will make stuff way more harder later on. Okay. Another thing we can do already is pap scars. So this is more round and more bent here. Like this. Okay, cool. Okay, cool. Let's also add an edge loop here and use added edge row. And let's just continue this edge flow. Let's move those edges a bit so they intersect nicely. Riven here, so let's move this as well. Them should be thick base, I guess. Okay no good. Maybe let's add an edge here as well. So freezing a bit in a bit like this. We don't even need each other. Okay, but generally, I would say that's good enough for a dina machine. Bras c then that's also duplicate the arm itself. We don't really need to do anything to the arm. Need to always pass at some support. So support here. Support this here. Maybe let's add one or two edges so this is more consistent here. And then let's move into a group. Let's clear history again. And let's uplcated to the other side. Okay, cool. I would say that's good enough for the gloves. So the bag and the head of hair missing. Right. 20. 18 Bag Prep: Now let's continue preparing the bag for sibsh. So let's again duplicate everything. Let's hide everything else. And let's start. Okay, the first thing I would say is, um, let's delete half of it and mirror it. To do that, we can just make a face here. So we have something to align our pivot to and bake it down, and then let's mirror it. Also, let's take this phase again. Now let's take a look at how we want to do this. So we want to separate this piece, the top piece from the bottom piece, but we also want to separate all those layers, I guess. So let's start with the top piece, then let's cut this down. That's detaches. Let's take a look. We also, I guess, want to separate this, um, this mesh that wraps around this piece like the black one. But we can do this later on. Let's try to get this looking nice first, and then let's separate it. So the easiest would be to just add a loop in here. Or we can, let's do it differently. Let's just here. Let's just select all those brown parts, and let's just extrude them inside a little bit, so we have some thickness here. With a little offset. Those guys we can select and a bit. Lots move this up a bit. Let's move both of them down a bit. Okay, so this brown p should be black. So make this black. Exactly. Also, we want to make sure we have a nice and flat surface here, but we have a nice bend here. So let's make sure this is in the center roughly. Okay, so now let's see if we detach the black pieces here, how it shades. He doesn't look too bad, so let's support here and here and also yeah. Put. So now we want to make sure this is nice and height here. So let's add a loop here and the loop here, not the inside. So yeah, exactly. So this one stays nice round, but we have a corner here. Maybe maybe we have to move this down a bit. Maybe it's too pointy of a corner. Yeah, better. Okay, cool. So what we need to do now is just add a loop exactly in the same position here, so it continues. Hot stuff. Okay, what we can do now is delete those gas and those guys and separate this and just extrude those cars out so it's nice and even. So we want to extrude it down with an offset first, like this. And then we want to give it some thickness, like this hop w. Now we want to invert this and let's take a look. Yeah. This is where we want it to be. Okay, pull it. Again, let's select those faces here that are on the x is very mirrored. We want to scale it and delete it. Now we want to add one edge loop in here, one edge loop in here. Also, we want to add edge loops around here. So this is nice and sharp. Okay. Now for this guy, what we want to do is we want to split this top part off again. Easiest way would be to duplicate this. So we have the top part one. So we're going to delete everything but the top part. And here we just want to delete this extrusion, and we want to move those guys down a bit. In a bit. In a bit this. This one. Okay, now so Now let's just extrude those guys a bit. So we don't get holes when we move both of them. Exactly. Also, we want to make sure this stays hard, so let's introduce some floaters here. Yeah, this looks good. Okay. So that's already nice. Now we're going to do we have to move this one in because as you can see, it's too far out, so let's move this whole part in to that corner here. Let's make sure the snips to that corner. Okay, cool. Now, for this guy, what we can do is we could make a cube like this, but just filling all those holes here and then just selecting the hard edges and those guys. So basically all that we want to support it and just bugling it. Now this looks. Yep, this looks cool. This looks cool. Are we sing? No. We using anything here. Okay. Okay. What we might want to do is like we did before, move those supporters here. I did, so it's not as int of. What if we make this English soft. Yeah, looks good as well. Let's make sure this one smoothed in a bit, or can we just combine those two? Or, combine those for now and then just add more polygons like this so the supporter goes nicely around. Okay, cool. So now if we just mirror this on the exits we had already and combine it. It's like skis on that Lletly in the center, so that's much done. Separately. Okay. Yeah, that already looks good enough, I would say. Okay, so now let's work on this bottom piece. What we want here is basically we want it to be tucked underneath the sky. So we want it underneath the sky like this. Oh, let's find out. Keep it on the edge. I was in the worst. And we want to split it up in different pieces as well, again. So I would say, we want to have this outer layer here. It'll be a separate piece, so let's detach this guy. Oh, let's not touch it yet. Let's think about them. So we want the outer layers, and then we want this one to be set in. Hm. So let's think about this. We want this to be a layer on top, then we want this layer, and we want the back layer and this guy's tucked in between. So I guess the easiest way to do this would be, let's cut this in. Let's see. So we have this first layer here. Then we have a second layer here. Then we have a layer back here. And then we have this guy and this guy tucked in here. Let's delete this for now. Sets no bit. This is an accent. An ascent even. Yeah, should that should work, though. Okay. So let's make this straight with Sent tools. But just selecting the end words, you have to start send first. Just selecting the end words and then send tools it. Very nice. Okay, then let's start by cutting this guy off putting cutting that guy off. Oh, let's cut the red guy off first. So we're not interfering with it. So we're going to extract it. Then we're going to cut that guy off, cut that guy off, and that's separate all those pieces. Okay, good. Then again, here we want this to just be extended underneath this guy, so we can just basically move this up. This this. So place like here. I'll wt like this. And then let's just move this wet as well. Yep. Also, that's Make this nice and qualified. Okay. Okay, looks good. So now what we want is we want to extrude out of this bag. And basically, extrude it and merge it. Let's make sure this is not too wide. We want this nice and flat. Now we just, let's cut this into nice ads so it's nicer when it's moving. Like Let's do it again, like before we add another word here, move this into place as well. Let's make sure We have enough. Polygons here. Okay. Now, let's check again. I would say to make this nice and even, we need to move this guy in a bit. We can also slide this guy up a bit. Okay. Now we want to select those edges here, and we want to add. Yeah, let's take. And let's add a bevel, like a wider one. And we want to like before we want to delete those guys those guys. We just want to add as a party here. Then because you want to have this guys hard and disguis soft, we want to just select those guys and bevel them. We can try changing the middle along to edge so it stays the same distance. Then let's see if we're going to delete those guys. The shading is nice. It's kind of nice. What we can do now is we can send tools to those guys a bit. L again, delete this one by hand, so you don't have to send to this one. One too many. So those two Those two. Those two, and then let's grain. He looks cool. Again, maybe this is too um to point W we delete those inside edges. I would look cool. Maybe it's too wide now, so let's move this in a bit. Then let's delete the center one. Or, let's keep it now, but keep in mind that we want to delete it later. Maybe it's cent ful now while we model the rest. Okay, let's keep this. Then let's work on that guy. We don't need that same as before, we want to extend those guys out. Like this, this, take it this, and we want to extrude this as well. Much like this. Maybe we don't need this really. Let's just add an edge for this. Okay. Yeah, cool. So same again. We want to extract this a bit and then yeah, basically, fill it again by extruding and merging to one point. Okay. I another. Yeah. Then again, we want to make sure this is tucked underneath. Here it's extending too much, so we want to move those guys back. Here it's not going in enough, so we want to move those guys in. Okay. What we also could do is make sure this meets roughly the position of the edge loops like this. Okay. Okay. Just a bunch of moving stuff around and taking you like it, basically? Now, let's select those edges again, bubble them a bigger one, let's delete the support this here. Let's again, bubble those guys as well. Maybe a bit more. Cool. Let's do the same here by editing those guys here. And let's those supporters again, back in the tilts. Looks like we're missing this bevel here. So let's it like this. And let's Let's bevels guy here. So we'll have a support down the flat surface. Okay, cool. Now let's move those guys around with bit again, so this fits. See if we need to move this out a bit. Okay, looks good. Now, we want to do the same for the back piece, basically. Or, can we we just ubcate this big night won't work. Okay, then let's do the same same to this guy. So let's do the same basically. So we want to, let's start by making this guy straight. Then let's just keep spacing. Let's move those guys into place before today. So they are going underneath the things we have already. That's good. Then let's extrude it a bit in. And then, let's put it to one to one vertica by extruding and merging. And then let's just add more, more rts again. Oop. Okay. Then again, let's select those guys. Put the baby on them. But again, delete those guys. Oops. No. Et's again add those bevels. Let's bevel those guys. Exactly. Okay, cool. Yeah, let's keep it like this for now. And now let's work on this inside, guys. So let's say we want it to be exactly in here, so let's just merge move those guys at the exact position. So it's nice and tight in there. What we want to move this one as well. Again, we want to make sure this is underneath there exactly like this cool. Now what we can do is absorb. Move the so that's. Okay. Now what we can do is make sure we have this cut here. So if we take a look at our blocker, it was here. So let's edit here. Let's detach it here and let's work on the skill first. So what we want to do is just extrude this in basically. Yeah, that's basically you want to maybe make this a little bit longer. And now we just want to select the border edges, plus those guys and pebble Basically it. Let's delete those guys here. Again, we want to make sure this beb is the same thickness, so let's go into the be change it around until it fits. And let's see if this is maybe too soft, the whole piece, but it looks okay. So what we can do here is select those guys and, that's probably not work. But we can use sent tools to send those guys out. Like this So we solve one problem already. We are losing volume here. So we can do is go in here, select those guys and try moving them so we don't lose volume anymore, like this. Yeah. Wait. Now, let's go to that guy. It's basically the same as this, but we want to have some volume here. So we want to move this one out first, like this. Now we want to do the extrusion inwards, like this. Now, again, let's just a little bit. Select all edges, but this one and this one, let's build it again. Let's check again how we'll be able to tear. We just want to add more, I guess, again. In here, we want to delete those guys again, add them by hand. Use sand tools on those guys like before. It's nice and ground. Let's add this later. Okay, let's add this gavagan. No, don't have to add it, so it's nice and tight, and then we just want to add support loops here along the line as well. Okay. That's good. So let's also combine those guys and critica. It's better for shading, see? It's that shading era? Same. Yeah. Now let's think about deleting that guy who really want to do it. Let's see how it would look. We would need to do it on all those guys. We sing, because that guy, he should just the dipping so it tastes the same. It does look cool. If it's rounder, I would say, so let's make it rounder. Let's just make sure we don't get this strange wobble in here, and pulling those edges out a bit. So this is essential. What if we make those guys plain C storage guys? No, go pull this one out a bit, I guess. It looks good. So now let's do the same here. We're going to delete the inside edges here. Before we want to do this again. Oh, so Then we're going to delete those guys and those guys. Again, we want to make sure we have this supporter up here. Okay, this looks cooler. So now let's select all of them. Mirror them again, and let's combine some dishes. So it looks like it's fine. Here we are missing. Basically, all of them. That's great. So let's combine all of them by hand. Okay. Same here. Okay, we should just select all of those guys. And how can we do this? Let's just select all of those guys. Let's make sure our he is on object space, and it's just that should work. So now we select those two guys. Yeah, they need those supports here. They don't need them. Great stuff. Same here. Let's just select this whole edge loop here. Let's align it here and let's scale it to that point. Combine it and merge. Great. Yeah, this looks cool already, except these top part, so let's work on that guy now. We want to have it tucked underneath. So let's just select those guys. We go soft selection, and let's just try what happens if we just tuck them in. I guess let's freeze our transforms first on this guy. Ah, this guy is still duplicated, so let's duplicate simulator. That's why it was behaving strangely. Let's freeze this go. Let's combine this all to one mesh. If it acts up like this, standard rehire, always the same. So this should be tucked underneath here. So what we could do this better is select these guys and just push them out just a little bit. So we have more room basically for this. It just looks better, really. And here we could just we push this in a bit like this. Yeah, this one really works. So let's keep it like this. Okay. Then let's separate again. And let's bake down the pivot in the center gear for this guy, so we can mirror it along the Stax is. Also, we want to re mirror all of those guys that means. Not this guy. So let's delete all of this. Let's bake the pivot to this guy, and let's mirror it again. It should be easy now. Cool. Cool. So let's do this bottom piece. We can basically, basically move this into plasia like with the top thing, we just have to worry about intersection because this is so round here. But let's do it the same way, so we want to just reach those guys and fill these guys. Let's make sure it's flit. Let's make sure those are planar as well. We want to do now is to select all the edges basically except this one should be round but the edge should be beveled. Put a nice bevel on this, like, p or something, let's delete the ones. Annoying us, and then let's add this one back. Let's let's mirror it. Now, the is, let's combine the merchants take a look. Okay, this looks looks good already. Then let's work on those two guys. So what we want to have now is like, we want to have this metal piece and then this guy coming out, right. So what I would say, first of all, let's move this bit in like this Mirror, and then let's add a Q here. And let's build this metal piece that guy so it will be just the standard cubith like this, this when I belive the insides extrude a bit to the inside now. Yeah, I guess that's what we're going for. But before we extrude it inwards, we could bevel the edges a bit so it's nice and round and then extrude it inside. Well, no, let's do it the other way around. Let's make it nice and tight, like this. So for the inside, then let's bevel the edges a bit. And let's extrude it outwards. Yeah, that's better, I guess. It's too thick, I guess. Okay, now we want to lay it on top of this piece. Let's just select all borders, bevel them. Let's make sure we have support loops here. Okay. This could work. And then let's just add supporters here and up here, and then volume here. This one we want to make sure is nice and straight. This we want to move this one out like this hoop. Like this the. Now let's select all of those guys. Let's extrude them just a little bit. And now let's just let's make sure this is nice and straight. Same for this guy. Okay, now let's just add some spot loops in here. So again, those guys and this guy and the corners, those two guys Now, let's do a big one again. Let's do like three and again, delete those supporters that are useless to us. Let's make sure those guys are not intersecting with this, but also just use centres on those. So they're nice and even in line. But we're not going to really see this, so it's not that important. And then let's just add in those supporters. Okay. And this is our metal piece. Maybe it's a bit too soft. What if we let's deal supporters again? What if we extrude it just a bit more? S and add a shameful. Well, maybe this is too round. Maybe let's go back and step. Go back to step. And let's extrude this and then just scale it up like this. So the pebble is not getting bigger, but it stays the same, basically. Or no, let's go for Let's just make it square for now. I think square would be the best and then bevel it later. So let's make this square again. Let's scale a little bit. Then let's extra like this. And now let's bevel it now a bit. Just a bit. Yeah, exactly. Then a little bit. Let's add some supporters. So this stays nice and tight. Then let's add some like this and it's a great this, so we're going to put ray on this guy. I guess we want to move it in a bit. This Okay. And that's basically it for that guy. Maybe should be we should add more supporters here so it's tighter. Yeah. Now, what we're going to do now is like before. Oop. Make a pivot like this so we can write group everything, call it. Back. And yeah, let's take a look at the rest. This one is pretty much done for the sculpting class as well now. Let's move it into a base group and call it. 21. 19 Zbrush Prep: Now we want to move everything that we want inside Ciber to cbre so we can start scuting. But first, we want to add a shirt here, so we don't have a gap between those two objects. Through that, let's just duplicate the head for now. Let's add a cut in here. I feel like this. Spit the rest. Let's duplicate it on the center. Now, let's slide this up and down again. So we have it pretty much straight. Let's transform this outwards a bit. Let's cap this on top. And let's just extrude the horns and spill it up, move it down a bit. I guess, move this up a bit, as well. Well, let's move everything up a bit. Let's see. So we have a turtleneck shirt underneath there. Something like this. We don't need to be a bit like this. Let's do something like this. And the rest, I would say, we're gonna do sculpting. Let's just give it a nice color like black or whatever. Okay, that's it. So now let's start moving everything to Seabirh. Let's start with those guys that we want to sequence, hypodifles. Best way to do this is let's just duplicate all of it and combine it and then smooth at once. So modeling mesh, smooth. So now we just going to exploit this file as an OBG Next thing we're going to move to bash is the phase. So we're going to duplicate this one and combine this one to one mesh and merge it. Then we want to move nearly all the head poly pieces. At least the ones that connect to the body, so I would say those cards. So let's duplicate those as well. I don't look the groups of quarts. So the headphone group, we want to duplicate. Yeah, basically, the headphone group. Merge for group. And then, because those guys inside are duplicate. So we need to select those two duplicate groups and press this button, and now we can combine it. Delete the history and smooth this as well. Hi. And that's about it. So we want to move those guys C brush right away, just export it as an Obichi and get it to brush. Now inside Cebush, your model should look somewhat like this. What you want to do now is create different polygroups for this, so we can divide it up into different subtols. Do that. We're going to press the Autogroup button. And then we want to control shift, click on pieces that should stay together. So let's say, for example, I want those guys be one piece, not the pencil maybe. And maybe not the sleeves, but those two guys should be one piece. So I isolate those two and press group visible. So they are one policle block. So we're going to do this with all the pieces we want to combine because at the end, we're going to press split by group. So let's do this. So those guys should be together. Group visible. Those two guys I want together. Maybe I even want those two guys together. Yeah, it would make sense, at least. Then the gloves, we want all the fingers to be together because we're going to dynamic it later. We want basically the whole backpack to be one piece. Group visible. We want both arms to be in one subtoled. We want I would say, those guys to be one piece. Maybe we're going to add those two guys to the chest, as well. We want both boots to P one group. Also, want to have those two. The soles in one subtol. Then we want to have those guys in one subtoolEcept I would say the buttons because we're not going to sculpt them at all. Okay? Okay. Same here, I would say, let's isolate this again. We don't want those metal pieces in there because we're not going to sculpt them. It six. Now the only things missing are the high paliza, we don't want to sculpt it roll. So let's isolate everything except those guys. Oh, let's hide everything except those guys. So those guys I don't want to sculpt the roll those guys, so I'm going to group visible on them as well. Okay, so now if we just press split Group split. We're going to get our different sub toools inside. Sibr and we can basically start sculpting. Okay, the first thing I would say is, let's start with the head because as soon as the head is done, we can move it back to Maya and start creating the blocked for you here. 22. 20 Head Sculpting: Okay, let's start with the face. To start if we want to dynamis it, you can find it on a geometry, which is going to choose a bit higher resolution. Then we're just going to do dynamis so we get the result that we can work with. Okay. Generally speaking, I use three bushes the most at this stage. That's the move brush. So we can let's start by smoothing it out, we can move things in place like the cheeks, for example, we can just move them, right? Also, I use a lot of course, the smooth brush, but it doesn't really count as a separate brush, right? I use a lot of the clay build up to add some volume somewhere. Like when we smooth it, we lose volume, right? So we want to get it back in. But this or we can use it with old to, like, get rid of some volume somewhere. So that's the build up first is the dam standard brush on a lower intensity. So we can define areas in our model basically. So what we want to do in this stage is we want to smooth everything out a bit. And we want to define where's our chin, where's the nose, where's the eyes, where's the mouth. That's the first and most important parts. Also, always have the concept open on the other side so we can check those facial features. So we want to get back the volume we lost here. We want to move this one down, we want to get those because it looks like she has, like, a rather square chin, so we want to move all those Hs out a bit. We also want to use them standard to define this shape more right so we want to have a nice point here. We don't really need to worry about the ear because first of all, she has headphones, so we're going to see the ear. Second of all, we can get it later as a sphere if we want to and just dynamchi. Okay. Let's see. Not too much. You want to move this to the front a little bit. What we want now? We want to add some volume to the nose. It's not that pointy, so it's defined as a bit with the dam standard move a bit I guess. Also we have too much volume here. We want to press this in here, the move. A put it out here a bit. Like this. As you can see, move it is pretty useful for pieces like this, okay? Maybe it's too wide now. Small nose. Okay. See. So we want to move the head out more here, make it more round up here. We want to maybe bring this mot from it. Also, we want to have the nose to bend upward a bit here. Like this, say. It's promised to it. But it's just it's volume here. Also, smooth it out if it gets too pointy before moving. Okay. Let's push the nose bit up. And now let's use them standard to get our eye sockets right. So we want to have more volume up here, right? You can also use build up to add volume here. Okay. And we also want to have more volume here cheeks. Seniors they build up to do. Y. Let's add more volume, I would say the site. Let me see. Unfortunately, this is not like process like in Maya where you can just create all the assets on like a simple thing. Here we have to go back and forth and, like, always look at the f to get exactly what we want, basically. Also move DC we gas. Okay, now let's move up some dynamisRsolution, and it's dynamih again, so we have more topology to work with. Now, let's move it a bit again. Just slightly. And let's define more features. So let's work a bit more on your nose. Okay? The chin is a bit to pointy. That means we should add some volume around here. Something like this but I think it should be flitter around here. Oops. Okay. Let's move the chin out a bit, though. Well, let's see. And let's also um, throw of bits in the front. And let's also head in the mouth. So we want to have it up here somewhere. Pretty close to the nose. If I look at the concept? Somewhere here. Let's see. Let's just create a placeholder for an until we have more topology here, so it's moving up a bit. As the nos, I guess a bit up still. And out a bit, this basically. Mm hmm. And then that's also take a look at the eye position. So normally speaking, you would say between two eyeballs, you have a third eyeball. So if we have an eyeball in here, we want to have two here roughly. So it just starts catching something in So we have our rough position, I would say. Don't want it bend upward like this, let's move this bit down here. Again, we don't have too much topology now, but let's just put in some kind of detail where rough it should be. I'd say it should be roughly here. Some of the checks out again. Let's see. It's just the back and forth here pulling and pushing till we get the shapes that we like, basically. Okay, then let's add again, more topology. Maybe even more hoops. Yeah. And that's defined stuff even more. So for the mouth hoop. What about let's see, we want to have a nice upper lip here. We also want to have a nice hoop in round lower lip, which is good of this. Okay, we want to have the nose like this using mode pressure again to move to sing a bit and pull it out here a bit, like this. But Sherr we're speaking about the small nose. Let's put it in a bit. Now, let's add an ice line up here. Also in here. Without that. Okay, cool. Now, let's define the ice a bit more. So we want a top lead here. That goes roughly like this exactly. And we want a bottom lip here. That goes roughly like this. Hey. Does not look too bad for now. Maybe we want to make difficult decisions. Let's make them out a bit bigger, I would say. Let's move this out a bit. And let's use our Jam standard brush again too to define shape here more. Et's also um Let's also add a sphere for the eyes. So I would just say let's add Oh, no, let's not add a sphect this. Let's add a sphere with the insert. Um with an insert brush so that should be in and insert primitives, exactly. We're going to choose a sphere. Maybe I chose the wrong insert primitives. Exactly. We want to use a sphere. And we just want to create it here like this roughly. Want to use the transpose tools and move it into place. I was just too big. Let's do it again. Oop. He's move it in to where we want it to be like this, clear selection. Let's choose a different brush. And let's again split this by moving group by groups, right. So now we should have the eyes as a separate thing, exactly. And now we're going to let's move them a bit. Move them a bit into place, and let's now use the topology we here to wrap around the eye nicely. So we want to let's move this out a bit so we have a nice eye here. Nice and launched, and we want to move this topotry around it. Like we want to pull it in here, push it out here. You can pull it in here, push it out here. Exactly. Okay, so now we can also find it even more here. Okay. Oh, so would I. A little bold around here. Let's just see how this looks. We don't need to do this kind of stuff. I just want to Yeah, this looks cooler. Okay. Let's look at the neck again. Let's move some words around here. Smooth this up a bit. Okay. Maybe pull it in here more. Not everything, just the neck. Cans lift there. Same standard brush. Just put it in more here. Lift there. Clay build up. We're going to delete some volume here. Okay. We can do. But we're going to add a pullover anyway, but we can really defines a bit more what happens underneath the pull but not really that important. But of course we can do this while we're here. Okay, but generally speaking, I think we're at a good point to move this to Maya now and create our hair strengths. 23. 21 Hair Prep: Now that we have our basic phase in Maya, we can start by preparing the hair, the Baculptons crush. First of all, let's hide this guy. And to create the hair, we just start from a cube. Want to rotate it by 45 degrees, move it to the center of the scene. So it's nice and center. Now, let's just skate it up. Add some loops, collapse the ends. Make sure we put a crease. So if you go to where is it? Modeling editors criset. We want to create a new cre set for this. And that's basically it now, we just want to move those words into place, basically. So when I have this one come down here, when I add some leaps like this, we want to make sure this gets smaller to the front. Okay. So let's make this one small, I can rot it little bit. Let's add ma loops here and inside here. And let's use died he loop on those four. Added hero sorry. And that's basically it. That's how we're going to do all the hair strands basically. So we just want to make sure we move all those words into place. Here at the back, we want to tie them up to like we want to tie them up and create a second mesh later, so we're just going to end it like this basically. Hey, that makes a splick. Make sure you get the front nice, so let's move a bit more to the front here. Okay, then for now, let's leave this. Let's duplicate it once, move it to the side, rotate it a bit, and duplicate it. And that's basically how we're going to grade all our air strings now. So we want to have one here. That is a bit shorter here, I guess, like this. And also, I guess, not as tall, so let's move it in a bit. Like this. He let's duplicate it again. Put down again. Rot spread it also. Let's duplicate this one again. Let's make sure this one smoothed in a bit. Let's make sure the ending fits somewhat here. Okay. We're getting there. So what we want to make sure is that the front looks nice and clean. So we don't have a lot I mean, we're gonna use Sebas to make this more detailed anyway, but we want to make it already as good as we can be with the amount of polygons we have here. Let's should push this in a little further. Let's use added edge gluon do guys again. Added edge closer. I guess. Yeah. Okay, let's duplicate it again. Let's move it down, rotate it. Now we could, um, show our headphones again, right. Yeah. So this works, so let's hight them again on it right now. Let's move this into place again. I want to move this way back here. Let's Let's see. To normally we would have an ear here, so we want to move this down and around the ear. So let's pretend there's a ear. Then let's just look at it again. Again, let's move this up here. Okay. I know, that's just mousing stuff around. So now we want to do the back here, so we want to rotate it down like this, basically. And we want to make sure to have it wrapped around the lower back of the head, let's hide those glass finals. So let's make sure this is not the wrong. Maybe we should start from one of the top ones that are the wrong keep want to scale it down. So we want to make sure we have some film along the lines. This t's. It seems we duplicate this around a bit. How does it look? Hm. Me shouldn't dip in that much. Yeah, it's better if we don't like this. Okay, then let's also take those guys and move them up a bit. Or this guy this guy? But. Okay. Nice. Okay, let's add one more to the sent with here. Like this. Okay. Well, too much volume there, I guess. So let's rotate him a bit. Maybe let's get rid of a bit of the volume. Yep. And we just seeing one strand here. So let's just take this one, for example, rotate it etc a little bit. And let's make sure. Let's make sure it lines up with our head nicely. Maybe let's pull this down a bit. What if we pull it up and rotate it out a bit? This then we want to get rid of the volume watch what Okay, let's duplicate to the other side. Then let's duplicate this again. Scale it down, and let's move it here as well. Now we just want to take another look if they all nicely on the head clast, if they're not floating, much like this one, we're going to move this one closer, for example. So it's not f too much. I mean, we're going to do a lot of it in Sebush as well, but we want to make sure to send the best as possible to Sbrush. Let's duplicate this one, as well. I think we have too much volume. I mean, volume wise, we go to change a lot in Cebush anyway, just because it's easier to change the volume on everything at once, but, again, we want to make sure to send the best to Sbrush as we can. It so let's of those guys, I guess. Let's move it out a bit. Cool. Okay. Let's show our headphones again. Yeah, this looks good. So now we want to work on the the next thing we want to do is, like, work on this tail now. I think if we look at the block card, it's just way too big. I think we just have to get it down like a lot to make it work like this maybe. Yeah. I guess something like this could work. But let's move all of those in a group. I see. So it's called Oop. Yeah. So we want to do basically the same as we did before. So let's just start with one of those strengths again. Let's move it here roughly. Let's see, no. We want to let's get rid of those guys first so we can get the shape right first. And then we can talk about the rest or add some shapes back in and stuff like this. So let's see. So let's see let's say we want to have it roughly here. Something like this, maybe, maybe a bit wider. Let's see. I want to add those loops again and used actual on them. Okay. So that's our strand number one, duplicate it, move it down. Bigger. S. Yeah, we want to have one big strand, I guess, that moves like in the center of everything where all our other strands can come out of. So like something bigger like this, I guess. Let's. Here, then let's duplicate again. Let's add a second pre. Without that thing, maybe just like this. That's too long. Um, Let's to move this one up a bit. So we'll have a second one. I don't need here. Then we just, let's make this. Let's let's rotate a bit like this and move it like this or something. Let's do the opposite of this guy, I guess. And let's try some stuff out. Let's move this like this, maybe. We want to duplicate this one. Move it a bit. Let's see. Oops. Maybe, maybe let's this one maybe on a road it completely. Yeah, that's been. So on a road this whole thing. So the trees is sideways here. That's scared in move it a bit. Duplicate this or not. As you can see, this is not a precise science. Not at all. This is just creating strains and trying to make them look good, basically. Okay. Should strength. Stay this one again. Because I want it to be longer basically Finland. Like. Yeah, that's the way it is. That's better. And I don't want this to poke out too much on the other side, I want it to be I want it to be a flat here. Yeah, it's more like this. I would say we're getting there. What if we get distant road to a bit. Move it out like this. Okay. As you can see, I'm just moving the words around and edges and stuff till I try the shapes, basically. Hm. As I said, it's not a very precise thing. It's more fair until it feels right until the flow is right, you know? Let's try using Edit flow on those guys. Move it inward. Then it's just slightly back and skill it down, I guess. I like to should have more volume in here. Let's try just giving this one. More volume. And let's take some volume off of this guy. Let's Let's move this let's move this a bit to the side like this, I guess. So we have space for one smaller one here the duplicate this rot a little bit. Spade it like this. Yeah, exactly. And then we'll we want to make sure that those creased edges are not hidden, but they are on top. Basically, we want to make sure this crease lends maybe between those two creases, something like this it somehow matches up. We also want to make sure this crease is not hidden, but on top here, same but here, select those creases some of them. Some of those crease this crease edges well a bit, so it's visible. It's nice. Now, let's try getting smaller ones in here. So let's duplicate that one, for example. Make sure it's not that big, so this is just too wide. Um, that's just too much. We don't want this. We don't want this. See if we can make this a little smaller. Maybe we get rid of those gas completely for now and use Addie londos gas and then add them back in and use added on those guys again. It's better. So we want to add those smaller ones in here now. Okay. Let's see. From those guys. It. Okay, let's duplicate it, rotate it down a bit, scale it down a bit and rotate it in here maybe. Let's see. Missing a lot of volume in here. So let's see. I would say that add one big one in here and then add some small ones. But first, let's work on that one. So we're going to rotate this it so it goes into the other direction. Maybe let's see. Let's move those guys into position before we continue. Let's add those guys back in and let's use extra again. Okay, then let's look at this. Let's move this one before we do anything else. So let's Oh, I want to move this even more a way of Morton a curve any, we should Let's see. We should just do it like this. Yeah, now let's worry about that volume we're missing here. Okay, I would say, let's duplicate this one now. Scale it or not scale it up, but let's just move it out differ in soft selection here. This man? Yeah, exactly. And maybe let's select this one then let's bring it up a bit. Oh, yeah, this looks cool. Okay. So I would say we just need to add a bunch of smaller ones now, maybe let's pull this one in. But then let's just add a bunch of smaller ones now. And we are at a very good point then already, I would say. Okay. Hmm. Let's try some stuff. So for sure we want more smaller ones in here, so let's duplicate this one, scale a little bit, rotate a little bit. Yeah, like this. We want some stuff like this for sure. What's the wer. Oh, let's leave it. Let's lift this one. Let's not push it in. Let's just move this one here or something so we can hide this connection. Restraint like this. Exactly, let's just hide this restraint here. Then let's just duplicate it again. But if we turn it around and use it like this now or something? Let's see. Not so much. But maybe down here, so let's duplicate and move it here may. 'cause we're missing a bit of volume here. Yeah, that's a bit of. Is should go move this one down. Et's get rid of those faces together. That's just no bit up like this in here. Yes, we want one. More in here, smaller one. Let's also add a smaller one. Let's just duplicate this one. Oh, this one, maybe it's bend a little much. Let's try this one. It's fine. Let's just move this in here, for example. Let's rotate this. Exactly, let's just move it somewhere here. The Okay. And that's, that's roughly it, I would say. I guess we can create another one here on the side because from this angle, it looks very empty. So just one more like this maybe somewhere here. But other than that, I would say that's basically. So what's different now is where this guy meets the head and where this guy ends. So we either do it in here that we just select those guys and try to fix it up here. Or, because this is kind of a wonky way or we just do it in sebush. I guess I guess sebush will be the easiest for us. So yeah, I would say let's move all of this to seabush. You can still define some things if you're not too happy or if you want to add more strands. But I think generally speaking, this will work. So next video, we're going to move all of this to seabush and start cutting on it. 24. 22 Hair Sculpting: Now that we have everything inside brush, we can finally start by sculpting everything. But let's start with the hair. First of all, we want to separate those two pieces. Till that, we're going to auto group it and then hide the front pieces, in that case. And group visible invert selection, group visible again. So now if we press split groups, we will get exactly those group groups. Okay, first thing we want to do is we want to move that piece up here that we talked about before. So that's switch to our move brauche. Let's make sure symmetry is enabled. And let's just move this up. Like I guess, let's see. Okay. Okay, that should be good enough for now. What we want to do next is we want to smooth it a couple of more times so it's nice and smooth, and then we want to dynamesh it. Let's make sure we have a high enough value. So we have a lot of geometry, even more than this, I would say. Yeah, something like this. Now what we want to do is we want to, um, take a look at Oh, let's do no, let's make it even higher. I would say, let's see. And now let's make sure we don't see every line. So we're going to combine some of them together by just smving it. So back here, for example, we're gonna add in some. Then we're gonna Dana Michigan. We're gonna add some volum 'cause we some vult inflat Dnachigan it should be. Now, let's move all of this a bit. Like this. Exactly. Okay. Okay. Now, from the front, we want to make sure. If we look at the concept, we want to make sure to have something similar. So first thing I would say is we're going to use the Dam standard brush, and we're going to introduce some little breakup here. Before we do that, let's see, we could also before we do this, let's move those guys out a bit more. Like this. Exactly. And then let's use the Dam standard brush to pad some streaks here like this. Let's see. This one we might want to pull forward at a bit. Let's see. Then use DM standard again. Okay, let's undo this. The center one, we don't want to mirror at all, so let's keep leave it later. Let's worry about those guys first. So we want to add a little breakup here. Just like this. Generally speaking, gets move. Those goes back a bit. Let's go a bit to the front? Strikes. Okay. So Dam standard is your friend when you work on this, guys? Let's isolate this. Let's get this lines in here. Same here. So we can introduce some nice hair strengths here. Same from the back. We want to introduce some nice hair strengths here. Okay. Let's make sure there's not too much gap between the hair and the head, so let's down a bit. Okay, then let's say we disable symmetry and work on the front. So let me stand it again. We want to introduce something here. It's the same here, I would say, or similar. Let's work with symmetry on this guy. Let's use the flatten to flatten out. This portion up here. Let's move it out. Et's use the move brush again because I think we should pull those slightly back slightly to the front. Like this, maybe? What if we pull it a bit, exactly. Off this. Okay, this doesn't look too bad, so let's just work a bit more on those guys here. So we can do something like this, I here, where it breaks off, for example. Let's make it maybe not as intense our brush. Well, let's just add more strengths. Let's also add some down here. Let's hide this guy for now. Exactly so we can see where it connects to the head. Exactly like this. Hey, cool. Let's make sure we move this down a bit. I think we are nearly done with the front portion for now. We can always ad it later if we see it more, you know, like that's generally a good tip. Like, keep it at one point, and just leave it and work on something else and look at it later. Maybe you can find something that you want to change still that you can't see now, basically. But I think, generally speaking, this does look cool. Let's pull it slightly up here. Okay. And yeah, let's leave it for now. And let's continue with this guy. Gonna do the same. We're going to divide a couple of times. And then we're gonna use Dyna mash chicken. Okay. Now we're going to do the same as we did before. So, first off, we want to smooth those guys out here. Smooth everything a bit, so it's not as harsh Okay. We're not letting out that one, for example. Well, that's okay. And now we want to do basically the same as we did before. So we want to use our Dame standard brush to introduce some nice hair strengths. So let's start with this one, for example. So what we want to do now is push in and pull out again. Basically the same as we did before. Either from the start or from the end of a strength, so we move out here this we don't want to overdo it. So it doesn't get too noisy because we want to generally speaking, keep it clean, so you can actually see the strands and it's not just the noise. Okay. But that's basically how it works. Hey. You can also start strengths from connections like this. So if two strands connect on top, you can introduce one India. Yes. You can also introduce one like this here so you break it. This which always looks cool. Protect you can always do something like this. So we split off the tip a bit. Exactly. Yeah. So, generally speaking, it's just the same. We just have to do it on all the strengths. But it's always the same procedure, and it's basically just the Dame standard brush, to be honest, on a low intensity because if you go too high on it, you will see a lot of pinching and you want to avoid it because after all, it's all just BTL you want to add and not actual like big scale geometry changes. Okay. Let's continue with this guy. And as you can see here in this part, while we do this, actually creating the strengths in Maya helped us a lot because we're not going to change the big shapes anyway. So that's one of the main reasons I love to prepare in Maya, because it gives you just some nice big shapes that are super smooth, that are not wobbly. Like if you create them straight in ib, they tend to be wobbly. So I'm super happy the results we're getting. M. Yeah, it's also it's something here, even though we're not going to really see it, but it always helps to add details, even in places where I don't. They're not fully seen. I just the parts you can see, like, add to the effect that everything is sculpted, basically. Okay. Okay. Let's see. Okay, cool. Does look cool. Another thing that we can do if we take our mouth brush and enable echo curve, I put it up here. Um, if you're not using the sea brush layout, if you control control shift hover over something, it tells us where it is. So this you can find in brush, curve, aca curve, so brush, curve, aquocurf. And if we enable that, it helps us to create super pointy and, um, yeah stylized looking shape. So let's say we pull this a bit. You see, we get these nice angles. So we can pull on this mesh a bit to make it look more more angular, give it more shape, maybe. Um, it looks very stylized the result we're getting. So if we want to do this, to get more in the Silete maybe, to get more stylized silete we can do it with Aqucov. I like this. I wouldn't do too much because I like the shape that we have already, but you can just do it a little bit. Okay, cool. But generally speaking, I would say the hair. Yeah, the hair look good like this. Okay. And the next to, we can continue with the rest of the cloth. 25. 23 Pants Sculpting: Let's start with something easy, Let's start with the pens. First off, we're going to separate the pens from those guys. We want to have those toys a separate object. Those to as a separate object, and then our pens are separate objects. So we're going to divide them into those three pieces. Then again, we're going to press group split. Now we want to go to our pens. And the topology array looks good enough for sculpting, I would say. So let's keep it like this, and let's just divide it a couple of times. Okay, then let's start sculpting it. Again, the dams standard Brush. So we're going to start introducing folds, let's say, from the top up top downwards. So first of all, we want to have some folds in here. Like this. Always work on lower subdivisions, not on the highest you have when you do this kind of stuff. Little fold increase outwards crease like this, so we have a nice angle here, and then we just want to add some falls here. On the back, we want to do something similar. We want to decrease like there, decrease here. So this one out to liquid. And then again, add creases in here. Okay, cool. Next thing we want to do is we want to add the crease on the back of the knees. So we want to have an insert crease here. Then on top and out what's what's one like this? So we have this typically triangle shape on the back. We want to use aqua curve flaps as well so we can add more volume to this. Yes. Then again, we want to can also use Aqua curve on the tips to pull them out a bit, like move with aqua curve. Stick there. Then we again want to use them standard and continue the curves basically. So we want to break it here, continue it here. We look at the at the concept again. We want to add one fold roughly here. Like this part here, so we want to get something like this going. Okay. And we also want to make sure the bottom here is overlapping like this so want to pull it out a bit here. Moving out? Exactly. Now we want to use this volume to create folds in here. So we're going to have a fold here, it looks like in the concept. Same here, so we have this fold here. Let's see how we can connect them. What we just cut in here. There's something like this on it. Okay. Doesn't even look too bad. So we're getting into the right direction. Let's see. We still want to add something here, change something here, I guess. So let's make sure. We have this one nice and separated here. What's on the other side here. The one I have digging in here like this, and then I fold on top like this. Like a standard triangle fold here. I like this. Basically same as here, so we have this standard triangle faults here. Yeah. Okay, let's go up our subdivisions to see how it looks now. Okay, this looks cool, I would say. Let's go down a bit. I want to make sure we move this one out a bit into the front here. Also, let's move our knee out a bit. Here, let's use lame standard again. Maybe that's isolated if we get this wobbly results here. You like this? Que what's on the front. It doesn't even look too bad. Maybe we can introduce more fold in here that pushes that fold down, basically. So something like this. Let's just try. Maybe we'll undo this as well. Just see how it looks. Yeah, I guess, yeah, we can keep it as long as we don't overdo it. So Okay, then let's take a look at the bi again. Make this one nice and clean. So those two, I guess, should meet up at pond, and you want to introduce stronger fault here and also a stronger angle here. Okay. Okay. Okay, cool. So the pants are right. Lo kind of cool. So next step is we're going to worry about the pockets here. Should be pretty easy because all we want to do is divide them a couple of times because they have a nice cuttable topology. And we just want to use the Dam standard again to add some folds in, so we want to, for example, add a fold here. Like we always want tension at the corners, and then it folds like this. Same here. The tension from the corners. Let's see. Sometimes if you get this very oggly results, it helps if you show stuff underneath the mesh, so the calculation is somehow different then. Let's just hide this actually see it's going on. Yeah. But again, we want to introduce some tension here. Hey, maybe that's it. Add one on the side as well. Let's see how this looks. Well, this could work. Let's try it here as well. It's too much. Let's study the last one. But yeah, this could work already. So let's go back to our pens, and let's add some folds where it connects. So we want to add a fold here, for example. We can also add one here. We have a float here. Yeah, maybe the last time was a bad idea. Let's under this one. To big. We need to make it smaller. Let's try it up here again. So we're gonna go out and see. Yeah, better. This one looks great. Maybe one down here as well. My going down like this. Now, you see, let's add and a decrease a bit more here. And what we also can do is add a crease up here. So if we do it asymmetrically, just like a tension fold like this here, it looks like it's stretching a lot up here. It's clear. Okay. Now we only sculpt it on one side of those two guys to mirror it. We're gonna hide mask this one and press Smart with sin. You can find it under formation Smtricm. So that's press this one. And it will, yeah move all our sculpt to the other side. It's important to mask the one you want to keep because if you mask nothing, it does like a mixture of both of them. Okay. Uh. That's basically for the pens. T. 26. 24 Sleeves Sculpting: The next thing you want to do is start working on the sleeves. Let's start by changing the silhouette slightly because I would like to have it bigger, if I compare to the concept. So we're going to use the acocuf and the move brush and pull it out here a bit, also here a bit. Well, let's do it diagonal to this. So out here a bit, back to the back exactly. So it taste is nice. Nice big volume in the silhouette also give it generally, maybe without acc more volume here. Let's see. Let's just a bit again. Okay, cool. Now because I forgot to press a symmetry let's fast to a smart rhythm of those guys, and then ensymmetr we are working on both. Okay, next thing you want to work a bit on the shape of this guy. I would say same thing let's move it out a bit here. But let's make sure it's going in here. So if we mask by group because we have two different pygroups. If you use mask by group, you can find it in masking and mask group in here. So on here on the side. Um C. Mass ball. Oh, no, you can't find it here. It's not here. Ah, brush. Okay. Sorry. Brush. Auto masking mask B group. It's this ladder. If you put it to 100, you can only only work on the one group you've selected. So because we don't want to have this tapering shape here. So let's disable Aquacuv and let's move it in this guy here. Same here. Like this, exactly. Exactly. Now, let's start by dividing this a bit and then let's start adding folds. Okay. Let's go back. Let's add some volume here onto this guy. It clear. So this is nice and round with enough volume to sculpt with there. Okay, then let's use our damn standard brush again on a lower intensity again, and then let's just add fold. So I would say let's let's add one like this here. Let's add one like this. We want to use we want to soften this out in fact a bit. And then we want to use the Dam standard in the opposite direction and add this fold like this here because it always looks nice if you have something like this, and then you can continue this fold further down so we can change the silete. So if we look from the front now, we have this nice fold and a change of silhouette here. Best case scenario, let's continue this. Okay. Okay, this looks cool. Let's go down a bit and let's use our inch a little bit because I really would like to have this little thicker here, this whole piece here. And then let's move it out a bit. So it looks so it looks more soft. Okay, back to the Dam standard brush. Let's just continue doing those folds. So this one here. Then we just have to think where folds would go now. We can do the same thing here, so we have this bike here. So I guess this needs to fold as well. So you can just add this fold again, make this one hard again. Maybe add something like this here. Let's see how it looks. Maybe maybe not this one, but this one could work. Yeah, this one would work. And then we could combine those two. So this one goes up, we can add a fold like this, maybe. Let's move it out a bit. Okay. But I would say, this one looks cool already. We can always change it later when we have everything. We can always go back and change stuff. But for now, I would say, let's keep this, and let's work on the scar. So best way is to just isolate this gar. Let's go down some subdivisions. So we want to have main thing is I want to have one fold in here, one big one. Like one of those ones where it's just where the cloth get pinched together here, basically, like something like this, you know. That's the main folder I want to have. And then I want to have some folds where the cloth gets pinched together and moved outward fold here. And then it's moved upwards here. I mean, like exactly like this. And then it's moved up here. But yeah, exactly. So it's pushed against this piece here, basically. Let's use our move brush again to make sure this is actually aligning here with it. Exactly like this. Yeah, that's what I wanted. Yeah, this is cool. Okay, then let's isolate this again and let's continue working on this guys. So those are our two main folds, this one T one. And then we need another one here. So I guess just comes out from around here and just pushes upwards here. That's basically the same thing as this one. Adds this kind of thing here. Maybe not too much on this guys, maybe it's too much if you do it like this, maybe that's already enough. And we can do the same back here. So we have one coming up here. We can also think about the same thing again that we did to the front, basically. So we have this tint and then this cloth bending around it. Then again, another one of those maybe. Maybe not like this. Also, I would like to use the inflate on those guys here because I want more volume on those guys here. So it's really pushing up. Add a little bit of volume here. Smooth it out. Prepared to this guy, yeah. And then let's just use the damn standard again to give it more more of an defined look. So we have those two coming up here. Then we want to have the opposite as well, so we have this guy coming up like this. It's a bit harsh again. Let's do the front first. We have this guy. And then the opposite coming up here. Exactly. Whoop. Same here, so we have. This guy and that's coming up. Exactly. And here we just want to work with that guy again. So we got this one going. And up here. Up here, we can just continue like adding some tensions here. At the corner, for example, that's always a good good thing to add. Maybe something like this. Maybe that's too much now those tools. So let's get this one back. Yeah, just like this, maybe. Let's take a look in the front, let's also just switch sides so we can scout on this side, just so we have a different perspective on the whole thing. And I think the main thing is we need silhouete changes, so let's use our buildup brush, for example, or the inflate, and let's get some volume in here. Let's move it out. Let's use it again. The same standard. And let's add some definition on top as well, here. Not too bad. Maybe we want to also add some dents in here. Let's go down some subdivisions. Oop. So this is more tinted in here. Also, let's isolate this and let's combine those two folds with the dam standard. So we actually see it in the silhouette as well. Exactly like this. Nice. Okay, then let's move this out a bit. See how this one will look if we add like a tint around it. Yeah, it's good work. Yeah, that's just Okay. Now what we still could do is use our move brush with echo curve again and pull some of those out a bit. So we have like this one pulled out, this one pulled out. As this and this, maybe. What we also could do is make this one a little bit more um yeah, squared off, so it looks more stylized maybe. The only thing I don't like is this wobble here. So I would say let's use the build up again. Let's fill it up completely. Let's move it all out, and let's redo it Okay. Let's move all of this out. Let's use our Dam standard again, and let's just redo this one. So it's nice and straight and not wobbly. You like this. Way better. Okay, cool. Maybe still one thing on this lower part here because this is very straight. Maybe, again, we want to use the dems to move with Acocurf and just move some pieces around. So they are they look more stylized basically. But other than that, I would say I'm quite happy right now with how these leaves look. Okay. 27. 25 Boots Sculpting: Now let's continue with the boots. What we want to do is we want to have nice folds in here. So it mimics leather, basically. So let's get going with the Mv dos first. And aqua curve because I think the main thing I want is, like, one nice, big, um, one nice big fold in here, so I want to just move the plot roughly into space. Then let's do some divisions. And let's start with the Dam standard brush again. So I want to have this nice fold around here like this. Then we want to have a fold here down here. Op. Like this. And then I want to have this fold here, this break point here, a little harsher. Now some fold on the side. So normally I would say, let's do one on the back here. That's like this standard. So we have one in the front here. Then we have one in the back here, like a triangle shaped fold again. So push this in this exactly triangle shape here. Then our triangle just continuous here with a fold here and on the same on this side. So we have another fold here. Now we just need to define them well enough, so they really look cool. So with our move brush and acocurv I would say that's move move those folds in place a bit, so they have more silhoette pop, something like this, maybe. Six. Yeah, this is great. So, this looks good. Let's move this out a bit. Also, maybe we want to make it a bit thicker on top. So let's just move this top part back a bit like this. Let's make sure this is nice and straight. Like this. Okay, then I would say, let's move Let's move this fold a bit to the front. Just looks like it's a bit far back, so let's just pull it up a bit into the front. And, let's do the same. Let's do the same for this back fold, maybe. Let's put it a bit in. See this guy. But generally speaking, I think those folds look not too bad. Maybe let's move back in here a bit. Also here. I like this. Okay, now we just divide it one more time, and that's just define all those folds with our dam standard brush. So we have this inner here and we have this upper triangle shape here. Then this continues around here to the back, and we add this upper triangle shape here. Same here. We want to continue from this point of the triangle here. So we have this downwards triangle here. We want to continue the shape from Let's fit this up a bit. I lost too much hood in here already. So we want to continue this shape from the downwards triangle here to the front. Like this. Okay. And the same on this guy, so we want to have this cut here. Then when I have this nice upwards triangle here, and also like, not as steep downwards triangle, maybe. Let's see. Smooth it out a bit. Yeah, exactly. I would say let's go down a couple of subdivisions and pull let's pull this fold it together, so it's not as big, let's make sure this line is nice and tight as well. Okay, let's use our standard again, define more of those ships, so I want to lay the ship here. Cool. And Lea doesn't need to be super pointy, as well. So I think we are we are roughly there now. Cool. So another thing we could see in the concept and we could add here as well is the line down the center. Through that, we can just use the Dam Standard Brush, for example. And we just want to have a line down here so let's increase the intensity, and let's increase our lazy mouse, make it smaller. And we could just add this in here. So we have this line down here. Or another thing we could do is do this later in the hypol inside Maya with floaters, which I normally prefer because then I can still change it up. So I would say for now, let's not add them, and let's do this in Maya. Let's continue with this. Again, let's use our move brush first to move this a little bit into position now that the shoe moved a bit. Exactly. Let's divine a couple of times. Let's use aqua curve again to give it more more shape, so we can pull it together here a bit. Hop So let's pull out front here maybe. Le. Let's see what else. I forgot to enable symmetry again. So let's select this and use Smart resin. Okay, if it doesn't work, let's just hide the left side. Let's delete all our lower subtations delete the hidden reconstructor subtations and then let's mirror at the very end. Okay. Yeah, let's just smooth out this border a bit, so it's not as harsh. Oh, let's even better, let's use our deformation polish slider here because that one just polishes everything, as you can see. But let's get up again. Okay, cool. And now let's use, as always, our dam standard brush change to some fold. So again, like on top what we cut up with too much intensity. Let's get one fold from this point in here. Yeah. Something like this, exactly. Let's just add some of those folds we were eating all the time, anyway. So nothing special going on here. Same on the other side. Let's introduce some of those folds here. In and out, triangleship. Exactly. Let's see how it looks. Let's introduce more site change. So let's make this one deeper and pull maybe this one out a bit here. Yeah, exactly. Same on this side. It looks very roundish so let's just use a little creasing here. So we have a nice siloed change. Same on the back. Let's just use this crescent. Pull it out a bit here. Push this in. Let's put this out a bit. So on the silhouete you have some nice changes. Now let's make sure, let's make sure we don't produce scapes like this. Let's go down some subdivisions. And let's just move it in place like this, exactly. Same on the boots. We don't want to introduce huge holes here, so that's fine. Okay, cool. Let's go up again. Let's select this guy. Also, let's not forget to press symmetry while we work on this guy. Let's reconstruct some subdivisions. And again, let's use our move brush to, first of all, move this in place. We will not do a lot of cutting on this lab but yeah we can always do some Okay. Then let's add some subdivisions. Let's use the dam standard again. And let's add some folds. See how something really. So what you can do is break up the bottom f here, so like the pint. So let's add some folds in here. It's all about silloid at the end, right? So we want to add Oh, not the saving now. We want to add a fold here that breaks a shoeite in the bottom. Flavus slightly. Doesn't need to be insane, but just like some syna change. And then we want to add a fold up here that builds tension, so we have these two kinds of folds sob maybe this wasn't the worst idea or maybe up here. Not really. Then let's try fold exactly on this bent here, so we have this. But like this, maybe this works better. Maybe not the second one, but this first one works quite well, I would say. And that's more I wouldn't even add on this because it's a small piece, and the more we add, the noisier it gets what we don't want is noisy pieces. So I would say for this piece, this could be it already. Let's just use our move brush again to remove some of the distance we have here to this piece. We could also use aqua curve moving here. So to put this in a bit here, maybe let's see how it will look. Yeah, not too bad. Yeah, look for it. Okay, then let's take this one. Let's delete all our subdivisions, and let's use the Subtool master C plugin. You can find the Subtool master. And with this button, you open my menu and you can mirror it along the exis and merge it into one Subtool. And then we can click on it again and reconstruct subdivisions. Okay. So with that, I would say the majority of our cloth is done. All we are really missing now is the gloves that will be a little tricky and the bag. But as soon as those two are done, we can move everything to Maya again, create all the pieces that are still missing, like the little the little pieces we had on the jacket here, the floaters on the jacket, like, the belt baa, stuff like this. Like all those little things we can create after all the sculpting is done. And then we can call the hypoly 28. 26 Jacket Sculpting: Now let's continue by sculpting the coat itself. First of all, I would say let's separate it into different groups again, by using auto groups then let's make both of them a group, Let's make both of them a group. And then let's make both of those guys one group, and then let's do a group split again. So let's go to split group split. Okay. And then let's start with that piece. To start with, I would say the geometry isn't that bad, so it would be scapable. But let's use set remeasure set to same. So we get the same topology by the same amount of topology, and let's use set remeasure on. Yeah, this is better for sculpting. Let's use this instead. And let's divide it a couple of times. And let's start, I would say. So the main thing we want is we want to define her chest a bit, and we also want to add folds around the waist where it gets pulled together by the belt. So let's start with that by using our game standard again. Let's first start off with the chest, maybe. And let's not forget to activate symmetry. Let's see if we can just pull some lines in here and get some let's hide this for now. And let's get some some geometry in here. So it looks more like a chest and sickle. Yeah, something like this. And then we want to use our dam standard brush to add some folds in here. So we want to have folds here, for example, Sickler. We also want to have folds at the back. We can also use our move par, for example, because it looks like on the shoulder, we're losing a bit of volume, so we want to pull this up a bit on the shoulder here. Sale. Okay, cool. Now, we just want to get some folds in there. Let's do some asymmetrical folds as well. Something like this, maybe. Maybe not directly in the central. Maybe, let's move it a bit to the side here. Yeah, something like this, maybe. Also, a thing we can do here is this kind of fulter we're going to push in here and do the same thing, basically we did on the sleeves. So we have this kind of pinching here. So it I would say let's get our echo curve move involved again, and let's with symmetry, let's get more silhouette in here. Silet changes. Yeah. Exactly. Let's do this all the way around here. Also B I would say. And then here in front. Let's use our dam standard again so we can get some nice folds in. Something along the lines of this. We can also add the fold here. But maybe not as strong. Let's keep it, separated to this fold basically, right? So we have this fold here. Then we have a line here right this here. Then I would say, let's use echo curve again and move to pull the sides of the chest in a bit. Like this. So we have more of not a straight look so we have more silhouette going on here. And let's pull the chest out a bit here. I like this way? We will work around this intersection later. Another thing we can do is folds up here folds up here. So we want to have a tension fold here. Sig. And we also can do them on the back. So tension folds coming out here, for example. Si Also, I would say let's give this more of a shape. So let's go back in with them standard and give this more of a shape here. Yeah, exactly. And then let's just create more of a separation here as well. Cool. So that's already pretty good for the start for the top of the chest. I would say, let's just do a little bit more here. Cool. Then let's work a bit on this guy, maybe. Let's divide it a couple of times, and let's use our move brush without echo curve to just move this shape in place, so it's lining up with the chest now. It's so move it a bit around yeah. Something like this, I guess, Okay. Let's auto group this as well, so we can isolate just one of the pull groups because I would like to taper this just a little bit more. Exactly. Ooh. You smooth it out a bit. Okay. On this guy, we don't really get much sculpting, to be honest. All I would do here is add some folds up here. So around here, for example, we can add some. But generally speaking, we don't need that much folds here. Let's need this one again. You exactly. Okay, then let's continue with the bottom piece here. I would say we barely need anything here because we wanted to hang down. So all I would say is let's introduce some folds here. Some smooth one stores or that's moved around. If anything, let's get rid of them again. Let's see. Maybe more on the sides here. Let's see. Yeah, it's better. Okay, then let's just add some on the sides here. Okay. Let's also think about the top here. Maybe we can do something around here as well. Maybe I don't know. Let's try some stuff out. What if we add a fold here like this, maybe. But I think this all will look a bit strange, so I rather not do this. Yeah, I wouldn't add too much here, to be honest. Maybe some small ones like this, but that's basically then even this is too much already, because it should just hang down, right? So it's, then just let's concentrate on this bot one so we have more silo change in here. So, if you look from the side, we have a silo change. And, you know, let's let's keep it for now. Maybe let's go back onto this one, and let's see if we can add a nice little fold here on the bottom. Maybe I have to do it asymmetrically. Just want one of those. Yeah. Throws like this here, exactly. Yeah, maybe not. Let's get rid of it again. Let's see, maybe. Maybe we can put one on top here. Let's try this instead. Yeah, that's better, I guess. It's just a small one up here. And maybe small one up here. But not really. Okay. Yeah, I think those main ones work great anyway. So, yeah, let's keep it for now. Let's Let's keep it like this and maybe we can see something when everything is done. But for now, I think, um, it looks good. Oh, one thing we could do is this guy. We could already introduce some folds into that one as well. So let's do this before we call the chess done. So first thing we want to do is we want to introduce nice curfew. There. And then we just want to do some folds up here, so we want to get one of those going, maybe. So it looks like the cloth is bend a bit. Sick there. I want to smooth this out a bit, I would say. So it's not as flatten it out. So it's not as us pointy. It's a piece of cloth, more pointed than the other ones. Wasn't really fit. Let's smooth it. Let's see how it looks. Side this for now. Use our move brush to move it around a bit. I think our main problem is that we have done it symmetrically, so let's do some asymmetric moving here. And let's just use those asymmetric here. And on this side, which is gonna do. Same again. I bring this one to the front, maybe. Yes. This looks better. Then in front, we can just put in a fold here like this, if anything. Okay, let's see. Yeah, I would say also, this is good enough for now. So yeah, let's keep this as well. And in the next video, we will continue with the boots. But 29. 27 Gloves Sculpting: Now let's start with the gloves. First of all, I would say, let's delete one side because we will only work on bone anyway and mirrod. Then to combine all those measures, we want to use Dynamesh with a rather high value, so the fingers don't get connected like here, so that's even higher. Nice. Then let's just start smoothing it out a bit, so those fingers are nice and round. Also, the dis is nice and round. We can also use the flettin brush to flatten dead corners exactly. Okay. Et's use the smooth brush here. Okay. Now, let's take a look. Okay. This looks good. And now, so we get actually a geometry that we can sculpt with. We're gonna use dynamesh. No dynamesh. Str mesh. Sorry. So let me just get this more round. Okay. Now, let's go to geometry and use the satury measure. And we're going to use, let's just try five K. Let's see how this one looks. Okay, I would say that's good enough for sculpting. Okay, then, let's divide it once, and let's start. So what we want to have is we want to have the fingers nice and round. Okay. Maybe this one a little thicker at the front here. We can use the inflat brush for this. It's pretty handy to smooth it out again. Well, we don't want this that it's bulging in the middle. We want them pretty, pretty straight, to be honest. So we also don't want the tips too good tiniest like they are now. We want to use the inflate brush so they are nice and even. Same for the thump. The thump looks not too bad already shape wise. Okay. Then again, we want to use the Dam Standard brush with a lower intensity. Let's divided one more time, and we want to add like a separation up here. Oops. Like this. And we also want to add a separation in here. Okay. That's already not so bad. Smooth this out. Let's add some volume back in here because we want this to be straight, basically. Oops. We don't want to have a bulge here, for example. Smooth used Move brush a bit here. Okay, that's not so bad. Let's go back in with the tender brush. Let's make sure we have a nice crease here. And then we will go around the dingers here and add a nice little crease here like this. Yeah, exactly. And we're going to do the same for the inside here. So we want to have this nice creasing around the base of the fingers. Okay, it looks cool. Okay, let's go back some subdivisions, and let's move some things around. So we want to pull this out a bit more, I guess. And we also want to pull the base of our thumb out a bit here. Were there, please. We also want to move this around here a bit, so I also want to add more volume to the thumb itself, of course. We can do this with the move as well or with the inflate. Okay. Again, let's move. Use the move brush. I think the thumb is too thick now. Let's move it a bit smaller, yeah. And let's inflate our fingers though a little bit. All of them, I would say. Maybe that's too much because they should be glove, so it should be bigger than the fingers themselves, right? Maybe that's a bit too much again. Maybe this is enough. Okay, let's use our DAM standard again. And let's introduce some folds on the fingers. So we want to have one fold in here to separate the knuckles, basically, right? So we want to have one here, and we want to have one here at the front, basically. And yeah, that's all we want to do basically. We just want to add this fold here on the inside. Just make sure it's nice and spaced out. You can always go in with the move brush and delete the spacing if you're not happy with it, something like this. You can also use Aku cave. That's easier. Okay. And then we want to make sure this is nice and smooth again. Then we can also use the Dam standard brush reverse to get the nice fold going. Okay. And on the back side, we want to do the opposite. Basically, we want to have outward bend here. So we want to do outwards bend with a fold underneath. Like basically. Hmm. Like this. Because it should be letter or something, right? So it should should have some folds in here where the letter is, like, pinched together or something. So yeah. Okay, cool. Okay, so let's just continue this with all the fingers. Except something like this. Again, we want to as pulse here. Turn the thing around again. Let's at the salt around here. And again, w in the front on the tip. Mm hmm. I put my fingers out too big, to be honest. Maybe let's go back and use inflate with negative to make them a little smaller. Okay. Let's continue. Okay. This one. Let's make it a bit smaller. Same standup brush again. Let's get those hoop. I should not be oxygen. Let's add in those two folds again here. Let's pull this a little out here. W aqua curve. Set like this, and then let's at the folds here as well. Oops. Back fold. Let's reintroduce this one. And let's add one on the front again. Oops. Let's make sure those fingers are nice and round. Not squished. You know, fold back in. Let's make sure we don't have a tip where the fold got added. We want to have this nice and flat here, basically. So let's use the flitting brush here. Again, damn standard. This line more clear. Okay, so the fingers dog looked bad. Now, let's work. On the thumb. What we want to do here is we want to add a big one here, basically, a big fold. Look around here to separate the thumb from the hand itself, basically. So a big one here. And then some smaller ones here. No, I deid. Let's revert this one. I think we have to move this further down. To get the shape I want. So let's do this before we add to mini folds. Then let's add this nate fold that we were doing on the other finish as well, should be around here somewhere. Exactly. We can also, if we don't like the position, always use the move brush to make it work for us. Yes, exactly. Then let's add in this bigger fold that I was talking about. So we want around here. I think. I could work like this, let's see. So it should come around here somewhere. Let's move push if you don't like the result. Yeah, something like this, basically, maybe we don't want this bump here, maybe if we make this small flat. It's just a little bit of trial and error until you find the shape that you like. Hmm. I think it doesn't look too bad. Well, let's just leave it for now. Let's start with other folks, and let's see how it works together then. So I think we have to add more volume here now that I see it around here. Okay. So again, with them standard, let's add some folds. So the most common fold you will see is a fold inside here. Like something like this, right? Just inside here. But those don't do anything for the silete. So the most important ones will be the silit ones, for example, if you add one here, where it gets squeezed together, the little or if you add this one up here a ridden part bo where the glove meets the wrist, basically. You want to have a nice round shape here. Exactly. And we want to make this whole shape nice and round, so we just go in with our moofbush and try to make this as nice and round as possible. Stick like this? Then let's smooth this area out Oops. The exactly like this. And then again, let's just add some folds here because we will have a lot of pinching here when the wrist meets the glove, basically. That Okay, cool. Then let's maybe add some more folds. The 68 folds. Maybe one to the front here as well. Okay, cool. Yeah, generally speaking. Okay, let's go to the arm now, and I would say let's just divide it a couple of times and then use the inflate if it's getting too small. Let's see. Yeah, it's kind of Then so that use the um standard brush. We want the skin to be very soft, so we want to smooth this out a lot, but we can use it. Also the Acucurf on the move to get more shaping. But generally speaking, we want it very soft. Okay, and if we like it like this, we can take our glove and move it into position so it wraps around nicely. I'm thinking this is going too big now. Let's make it smaller. Let's move it smaller a bit there. Because I like the shape of the glove right now, how thick it is just the width, it's a bit off. So let's add a little bit more. Yeah, something like this. Then let's select this one again and let's do a smart resin that both sides are the same. And now let's go back in here and let's see what else we can do. We can make a fold up here, for example. Something like this. We can work more around this fold now. Also, this one. Let's see what we can do on the finger tip. Hm. Not much, it looks like, maybe. If we go from one tip Like this, maybe. Do we have this small tension fold? Let's see if we want to add one up here as well. You can add a fold here. Let's see. Yeah, let's try if this looks good at one of those six seg folds up here. Maybe it's getting too noisy. Let's leave it for now. We can always go back later when everything is done and yeah, detail up everything, basically. I would say it's one more here because here, I guess it's a lot of pinching and a lot of compressing. So let's add one more fold here. I'll move Chion I don't really like ship no. Mm hmm. Yeah, generally speaking, I would say this is going into the right direction. So what I would do now is, um, leave it for now, how it is, prepare the whole match, and at the end, we will do another pass on everything anyway, to see how everything looks together if we can find anything. But I would say for now. This one looks out of place. It's fold here. So let's edit this before we call in today. Okay. Let's say it's some volume break in here. Let's redo this one, then. Because basically have this one nice and round, right? It's too much, I would say, Let's go i bit. Let's move this skin, let's move this out. Yeah. You can see there's always something to find. So I would say, go over all of it again, see what you can find. Yeah, compare it to real life gloves, how they behave. That's what I'm doing. Always have a concept up on the other monitor or a reference imaging. Okay. But for now, I think it's not too bad. So we could just mirror it to the other side and keep them for now like this. Okay, let's do this. So to do this, we want to press this mirror option again in the subtle and the subtle master. Exactly. Bien. And that's our gloves, basically. So the only thing missing is the pouch, then we'll jump back to Maya and finish our hypolta. 30. 28 Bag Sculpting: Let's continue by doing the sculpting pat on this bag. Looking at it right now, I would say we can split it off in different pieces because some, I guess, won't get sculpting like this guy, store the group. So this guy. Oop this guy. And those guys won't get sculpting, I would say. So let's split them off. Basically. Beginning. Split group split. Then those guys, I would like to divide. But if we divide them, you can see that those open pieces go smaller. So to avoid this, what we can do is go to geometry creases and crease our pulley group borders and then divide it, then they will stay up there and don't go, don't move down while dividing. So let's divide it a couple of times. Let's look at the geometry. I guess I guess it would be good if we get a new set of measure so um, let's delete our subdivisions. Let's go to our tetrometryg to the seiing measure, and let's use half, for example, so we get half the polycontent we have right now, and let's set we measure. Let's check it out. Yeah, this looks like a great Tumage the sculpton. So let's divide it two times. Let's also divide those guys. So it's better to look at. Okay, let's hide those guys so we can see what you're doing. Or, basically, let's hide all except those two. And now let's add some sculpting. Then with the dam standard, we want to add some, like, pinches, intention folds. So let's start here, for example, Maybe something like this. So we go down here, up here again. We can do something similar up here, for example. Maybe not the second one here. Yeah, maybe just this down and then up here. So we have a nice triangle shape here. C. Same for those guys on top, so we can go from this corner basically and do a tension fault here, maybe. Yeah, something like this. So on top here, let's see maybe we can introduce something, but I think it's getting too tight, actually, to have a lot of sculpting up here, but let's give it a try. Yeah, this could work. Maybe let's soften out this transition here. Then on those guys on the side, I would say we could introduce like tensions along those lines. Yeah, something like this. Actually, that's the auto group, so we can isolate this guy. Yeah, something like this we could introduce here. Oops. Yeah, maybe let's do the bottom one first. H Yeah, maybe like this. That could look cool, and then we could introduce something on top here as well. Same on the other side. We could do something similar. So let's add one down here. And then let's add one up here. I guess one on top should be more there are more angles like this, maybe. H. On those guys, we can try to add one in the cent per. Yeah, we like this. But that, because we don't want to overdo it, that could basically be it already. Yeah, maybe we overdid it already. Let's see. Yeah, let's maybe let's get rid of this one we had down here. Let's move it out a bit. Let's not create this one. Maybe let's create from the top here. Okay. Something like this. Maybe that's better. Yeah. Okay, let's look at everything now. Okay, it looks cool. So now what we want to do is take all of this and move it to Maya to continue creating all those small assets we're still missing. Okay. 31. 29 Finalizing High Poly: Now that we have our decimated model from ZipRsnshad Mayer, we can continue by finalizing the hipolymoel. If you take a look at our blockout, we can see which parts are missing. So we're still missing the ZEPA here, those guys here. We're missing the connection pieces between those bags and the backpack and the belt and then some floaters. So let's start Oh, yeah, the connection on the hair. Let's start with the hair in fact because it's easy. All we want to do is create a Taurus. And move it here. Then turn it a bit. Let's make sure it's in the center of our scene. Let's scale it up a bit. Let's make it a little thinner, the radius. Then let's just rotate it in place, and that's it. Let's give it like color. Maybe we can choose red or black. But that's that. Then let's continue with those guys here, for example. Let's just duplicate one of those guys. Let's hide the blockout for now. So what we want to do first is so this guy is basically coming out of the jacket, so we want to make sure makes sense where it comes out of. So somewhere like here, I would say. Exactly. Then let's extend this so it looks like the actual thing. So we want to have small extension here. We want to add a floater right around here, a supporter right around here and one tight one here. So this is nice and round, and this is sharp in here. Let's add another one here stuff. And then let's add a tight one here as well. On top here, we can just delete the interface so it doesn't smooth. That's about it. What what we can do is add a torus here again. So add torus. Oop. Let's move it here. Let's make it way less geometry, and let's move it into place. Roughly like this. Then let's scale it down a bit. And let's use this as our connection basically to the jacket. Mm hmm. It read as well. But now that I see, we can do it later. Okay. Then we're going to take this guy, and we want to have one part that can be pushed in, so we want to split it somewhere into two objects. Now, make the two different objects, basically. I guess this side, we want to have tighter, maybe even like this. And here we want to have a nice bevel. Yeah. Maybe we also want to add some details in here, like an insert or something. Let's see how this looks. Yeah, maybe something like this. Maybe if we move it out of it, Why make it. See. Wo it for here. Just make it outwards. Yeah, let's do this like this. And on this side, we want to do practically the same so we want to have a bigger bubble here and a smaller here. Maybe that's too small. Let's see. What if we um What if we do delete those guys and be those guys? How will this look? Yeah, this looks cool. I think it's just too big, so let's combine those two, and let's scale it down a bit. Maybe also those guys, let's combine them and scale them on the Y axis, the length is okay, but they are just too thick. Let's move those into the center. Pool. Now for this guy let's see if we can salvage this if we just transfer the components a bit. So it's smaller. Let's see. Then just to duplicate rotate. No, I didn't hear you. Okay, this could work. Let's see. I think we need to make them a little more little smaller, but scale them up again. Yeah, something like this. That looks good. So all you want to do now is add some floaters around those guys, right? So let's duplicate this part. And let's those cut ins where it meets our cylinder here. Here. Here. Okay. Now we want to select the border edges, and just extrude it delete the rest and invert it. Maybe even make it even smaller. Let's see. Let's make sure it doesn't intersect. Okay. Looks good. So now we can basically select all of those guys, combine it, mirror it to the other side, press on instance to object, so we can alter it. Now let's take a look at the blockad. So what we want to do now is select those guys, move them down, also select those guys and move them down. Okay, cool. So now what I'm thinking is, should we move them closer into the center? Hm. What if we could move them? Just closer in. Yeah, maybe. So that would be me for that guy. Yeah. Yeah, but other than that, I would say, what we can do still is rotttosks a bit so we select them. He can rotate you rotate them a bit. Maybe even, let's try route them out like the bit. Yeah, that's good. So that's good. Then let's continue with check it. So we want to have first this split in the center. So we can do is just select those three guys, duplicate them, combine them and make them our life surface then just use the quadraw and let's just start drawing in a line here. So we want to go all the way down. Right around in the center, we want to do this. And draw it all the way down here. Then I want to select this side and force it on the exes it's directly on the exes. Then we can take those sides, those guys, slide them, and then move them out again and make them perfectly straight. L then we just want to add more topology. So it's nice and round. So we have more as well to use our same tools on later. One here. It's just a couple of them in no. And then let's just here. Then let's just use Sint tunes on those guys. Same those guys. Oops. Okay, maybe I saw that this guy will do this. Same on those guys and on those guys. Mm hmm. But Okay, looks good. Now we can delete our mesh that we get here. We can select all of it and just translate it out just a bit so it doesn't dissect anywhere. Pull. Let's make sure we have this guy really intersecting in here so we can delete Oh, let's keep the center but we could delete it and we can move this one down. Okay, so now we're going to mirror that thing in the center, select the outer border here and transform it outwards. Okay. Now we can because I guess this is too big of a floater, so let's just put some parts away from him. So it's python and then let's put the white material on it. Yeah, this looks good. I would say, let's select them again and oh, just tear out the boer and let's use more of a transform on it. So it's steeper. And then we have issues like this, we want to add supporters. Also, we want to detach this guy, for example, so it's nice and tight here. We want to delete the guy in the center, as we said before. Yeah, that's it. So now we have our split down the center let's continue by creating the zip by itself. Let's check out the Bokot with it, so we're going to place it right around here. Duplicate this one. So what we want is a hole in that guy. So let's do something like this. Wok. So we want a hole in here, basically. See. So we want a hole in that guy, and we want the second cube right around here. We where the guy sits in on the chair of iper so we have this guy up here, and then this guy. So what do you want to do? We want to have something like this, I guess. Something like this. Just close this here. Same for this. Okay. And do you want to give you some thickness? I guess this needs to have way more thickness also. This should have more thickness because that would mean we could make these guys around, which would be great. Let's delete this here. So we can make those guys round. A nice pebble. We just need to reposition the whole thing so it looks cool. So I would say we're gonna move it somewhere here, maybe. Yeah, that will work. So yeah, um let's just select all the hard edges on that guy. Minus those two. And let's put some pebbles on it. So we have some supporters. Here we let's undo this. We just should delete those guys beforehand. Now let's do it again. I should work. Great. So we put some pebbles on it. We're going to introduce some cuts here. So the shading is better. Also this guy. Same here. And that should work, great. And then we're going to do something similar to this guy. Et's make it a little bit thicker. And let's introduce some cuts here. So first of all, let's hop, let's delete half of it, so we only have to do it on one side. And then let's just introduce some cuts here by holding down Control sheat so we can do 90 degree cuts with the multi cut tool. And we're going to do some nice cuts like this, so the pebbles will be, yeah, better basically when we introduce them. So let's select all the harder chiese again. Let's do Okay, cool. So the only one that got ****** up is this one. So let's redo this one. So we want to move this down a bit introduce some new ones. Santo Patil. Doesn't it work for some reason? Let's build a history on this one. Let's see. It's strange. Okay, let's kill this face at all. Let's fill, so it come to it okay. Okay, Maya, I guess Maya destroyed something. Let's killed a bunch of faces here, that's Troy field hole. Yeah. And then let's just recut it ourselves. So we have this, and then we go down here and one here. Let's do the same here. So we have a guy here, a guy here, and all we want to do is reposition. Like this. Okay, let's mirror it. That's basically our SIPA. Now we can start doing the Belt factory, for example. I would say it's similar to this one. Let's check out the blockout. So we had it here. Let's duplicate this one, and let's give it a try. So I would say, let's first of all, fix the size. So we want to have it bigger than our belt itself because we want to have a hole inside. Then let's delete everything else and let's do the same as we did for the zipper. We're going to create the hole in here. Now, I would like to have it asymmetrically, so I would like this thing to be bigger than this. And now let's just give it some thickness. Now let's reverse the noms. Let's select all of those guides, and let's bevel it with a hoop with a nice bevel something like this. Let's check it out. Yeah, that could work. Maybe it's too deep to pull it out again. Yeah, that could work. Now what we want to add now is the piece here. So let's just duplicate the cube, kill all but this one phase, for example, and let's straighten this out. And let's just work from here. So we want to what we basically want is a guy like this. So coming out of this and then reaching around here, like on the belt. Let's give it some thickness because that basically is what we want. Let's move this in further. Let's select those two guys and put a beb on this so this is nice and round. Nice. Okay, so for the belt itself, what I would do is we're going to duplicate this belt. We're gonna choose those faces and connect the rest. And now we're gonna, in fact, let's delete half of it. Let's just work with one side. Oh, no, let's not do it. Let's just introduce some edge loops with symmetry on, so it's exactly the same. Maybe let's move this more to the right now. No, no, let's not move it. Let's just make sure this edge is nice, symmetrically. Okay. Then let's delete the rest. And now we want to do is select this edge loop and move it out. So it looks like the belt is, yeah, moving out here like this. Doesn't need to be like a lot. We can also scale it down a bit move it out. So it looks like the belt is moving out exactly. And we want to just. Let's just clean this up. This. Okay, but that should be enough. And now we want to add a second piece. That's just the ending of the belt. So what we can do is we can duplicate again without symmetry now. Did everything but one X loop. And then just basically move it into position, so we want to slide this here roughly, move this out a bit, maybe make it straight so it's a 90 degree angle. Like this, let's delete the supporters for now. And let's just make it a solid piece. So we want to extrude this back and brag it. We want to fill this hole in the front. Let's make this nice 90 degree angle again to this guy. Okay. We want to move this bit outwards, then we can introduce the gropia, push it in a bit, so we have a bend at the end. Ok it little bit as well. And now we can think about things like, Yeah, let's, for example, pabelde two guys. So our belt is a little bit round. Then just select all of the edges again that we want to bales put the same bubble on that we put on the rest of the belt, the same size. So that's like 1.5, maybe 1.4 0.3 on on my belt. We can change the metering or the meter along, see if it changes something on how clean it is. But for me, it's like, they're all not the best, so let's just keep it like this and clean it up manually. Like this. Stick those two. This one as well. And let's just get them back in manually. So detail let's see. Oh, yeah. We need to continue them. Like this. Oops. Like this. Collapse those two guys, yeah, let's go. Okay. But that should be it for this guy. Okay. And now we're just going to select this guy, select all the edges here, put a nice bevel on it. I guess we need more. Let's see. We make this our gray material. Yeah, this would work. And now let's just add some supporters here so the curves won't get stretched too much. So stay nice and round exactly like this. And now let's do the same with those guys, and we want to have those edges around and those edges on the side. Let's put a chem f on it. Let's put the gray material on it. That's about it. What we can do. Let's see. Yeah. Maybe we should not have like bend it back. Let's maybe just make it straight. So let's try this as well. Because I think now that we pull this out straight would work as well. And it does work, let's just make it straight. We'll also be there locally, and then let's just add a floater around here. Again, plcate this one, they need all this one phase. And let's just cut in a floater around here. So we can go for a square floaters here. We could also go for a round floater, whatever looks good. It's just nice and big. I delete the inside. And I think we're going to go for the roundish floater here. We also just merge is in the center push the center in. So we have a nice yeah. So now we have a bell hole for this. We could take this now, center the pivot and just duplicate it around a bit. So we have more than just this one hole on our belt. So one more here, for example, then like maybe two more here. Yeah, exactly. Okay, cool. So let's stay at this belt. We want to have the connection from this guy, look from a bag, and from this guy who the belt. Let's see did we do? Yeah, we did something in the blockade already. Let's just duplicate this for now, and let's see if we can align it with our current belt now. So let's isolate those two guys and let's take a look. So what we need to do for sure is fix the height on this and how it bits off from the belt because it should touch the belt. But then those guys don't meet up with the bag, so we want to move those guys out so they touch the add a loop here and then move them in a bit this. Now, let's see how does this look with the bag? Yeah, this would work. Okay cool. So now what we want to do is make this fit as close as possible to our belt. So I would say we're going to select both of them and we're going to add a pebble to this guy that mimics this pebble, like size whites because when we smooth it, should fit. So yeah, let's do this. Then let's just select we don't even need. Oh, this guy it's enough. We'll just have it like this. Basically, now let's just select all of it. So all, but this guy, I guess, let's just Bb on this. Let's see. It's too hard right now, so our beben to be bigger so let's try two. And then let's just delete those guys on the sides. Makes it got. Guy for example, and then let's just reintroduce them. Maybe let's also get rid of those guys. Maybe we don't need a chin center. I think this one is too pointy as well. So let's make this one softer as well here. Yeah. I could I guess that's around it. Let's just move this one around a bit like this. Let's move this one down a bit. But it does look kind of fine. I just feel like we lose a lot of volume around here. So what we could do is give it some thickness. So let's select those guys and just give it some thickness now. Remember let's just select those guys and move them slide they odd. Slightly up. Okay, let's move it out a bit. Yeah, it should be fine, cool. Then send it to pit duplicate it, and let's move it back here. Let's rotate it. And that's move it into position right around here. Exactly what this is. And that's it for the bag, basically. So now it has two straps that hold the bag. And now we just want to add something for book at the back. What I was thinking was like metal pieces that get hold by leather pieces, leather straps. So what we want to do is have a metal piece around here and around here and then combine them with strip. Let's start with this. I would say let's do a let's do, let's start with a cylinder, I guess, where we delete half of it. And then we're going to select those kinds. So we have this half cylinder and usenet. Then we're going to make it less height segments and less radius, something like this. So let's kill this then. Let's see. We want something like this. So let's add in some supporters here. Let's see how it looks. Yeah, cool. That's basically what I want. So I want this to be here. Like this, maybe? The only thing I don't like about this I wanted it to be hmm, let's see. I wanted it to be more roundish. Let's see if we can do something. But just move this out a bit. Something. What if we don't start from a cylinder? Tricky because I want it to be around, but this is too pointy at one point. So what if we squish it together? Yeah, like this. Let's squish it a bit. That's not bad. Let's select this again and do another quick pap. I guess we could have done this already with the With the cylinder? Okay, let's slit it. So we have a nice and round piece here. Yeah. Let's add some supporters now. Yeah, that's more of what I want. So let's move it roughly into pace. It's no duplicate rotate it as well, or it just totes et's make sure this is licensed straight. Yeah. So let's do a duplicate. Let's rotate it, like like this, I guess, we're not going to. No, we want to add it like this here. So it's, okay. Okay. So we want to d it like this. Here, for example, on this belt. And then we want to combine those two with a leather belt. So those two are metal pieces, and we want to combine them with a leather bit and also have them wrapped around here on a little bit. So let's move this into place, how it would make sense. For me. Okay. Then let's first of all, wrap a leather around this guy. So let's duplicate it. Need all but to through. Face rows, and then let's just add a belt here. So first of all, you want to make this one nice and straight. Mi bebt so we have a belt that thickness roughly. That's not bad. Let's just make sure those edges are nice and straight. So it's always a 90 degree. Exactly. Let's bridge this. Let's delete the apoterF now, we can just reintroduce them later. Let's build it and give it some thickness. Hey. And now what we want to do is add a little bulgie so we want to get some plot here, some supporters here and just move it out like this, basically. Exactly. So we have this little bulgie from the metal cheese. Now let's reintroduce some supporters again. Let's see how it looks, actually. Oh, I did forget the most important piece before support us. We want to give it some thickness because right now it's flush with the belt. So let's select it all to a slight offset with thickness, make all of those guys hard. Exactly. Now, again, let's select all the heartaches, except those two guys, and let's introduce some support us again. Let's clean it up, like always. Let's also belt this guy. Let's slide this more closer. Let's use cut triangulate on those guys, now let's check. Yeah, that's what I wanted. So we have this wrapped around with a bulge here to hold the metal piece. And now what we want is we want those two metal pieces to be connected. Let's color them gray right now. And now let's just connect them. So through this, I would say let's duplicate them and delete all, but those centerfaces. And now let's delete those faces as well, and let's bridge it. So we have the connection already. Nice. Not the bottom though. And now we just want to introduce some faces that are like bend in a way, so it would make sense like this, for example, tick Now let's select the center edge and let's put a bebl on it, and let's delete everything else. So it's nice nice and has the same distance in all edges. Let's go back into a bebl and just make it needless in 1.5 maybe or 1.3. Yeah, something like this. Cool. Now, let's give this a black material, and let's just extrude it. So we want to have straight extrusion first, then offset an extrusion. Now, let's go Before we do the second extrusion, let's go in here and attach this. So what we want to do is extrude this one around here, so it's wrapping around this piece and then has some more that's holding onto the belt. Something like this. Yeah. Quickly. Supposed to make sure this is nice and clean here. We could also do this the other way around so we have it on top. Let's try. Maybe we switch it up later, but for now, let's try it like this. We can always change it if we don't like it. But it's the same process. It's just rotate 180 degrees basically. Okay, now let's Okay, now let's select those guys, and let's do the offset extrusion now. Nice big offset this. As we can see already, this guy should be longer, I guess. Yeah. We have more distance to cover here. So this has more space. Okay, now again, let's select all the heartaches. Or, let's just select those guys, in fact, those guys here. So just the ones wrapping around this direction, and then let's select those manually here. I think that's roughly all I want to select now, and let's bubble it. Again, let's clean it up. There's always let's introduce those. Thatchs got messed up manually. So those girlls I guess. Okay. Now, let's add a tight one here. So this is nice and tight here. Thing here. Yeah, something went wrong now. Let's see. It's just those squares here. Let's check it out. Oh, yeah, so we want to delete this one. We just want to clean this up now by isolating just the parts that are broken because here, too, it just meat that shouldn't meat. So let's kill this, and now we can kill so without deleting our omrint on beforehand. Yeah, now we can reintroduce this one, and it's all good. Yes. Here we just want to make sure that this is nice and clean here. So with a soft selection that we can change from volume to surface, we can just pull it down a bit. Like this. Okay. They're cool. Looks better already. Yeah, exactly, that's what I want. So we can still addEdge loop on those guys, for example. Oop, why not. But for now, let's just keep this. And let's do basically the same on the other side. So let's look look at the sky again. Like this, again, move it up here. We're going to basically do the exact same filing, so we're going to move this here. Let's picture both of them, by the way. So we don't have to do it again because it's going to be the same. So we're going to move it droughly here. We're going to rotate this again, like this, so it meets up with that guy. But here we don't have a lot of space between them. So I would say here, we just want to see We just want to add, like, a strap that wraps around both of them, so they're connected. But without the things we did on the bottom, basically. Cool. So let's do the exact same thing that we did before. So I want to plcate those two, combine them. Select all but those faces and delete those guys and bridge it again. But now we want to bridge top and bottom because we just want to make a sling that connects both of them, then we're going to select Center edge again, bebe with 4.3. I think we did. Let's see. Let the rest. Yeah, that's correct. Okay. And now we basically want to give you some thickness. First, some thickness, then second extrusion with offset and thickness. L. Let's take a look. We want to, I guess, delete those two guys and reintroduce them nice and clean. Also the portless here. And then we just want to add Soup portless everywhere. We don't need to use Babylon that guy. Let's make it black. Yeah, let's keep it for. So that's that. What are we missing? Let's see. Oh, yeah, next thing I would say, let's add those details on the boots that we have in our concept. So that's basically a strip down here. We're going to do it the same way we did this one. And it's a red detail here. And at the back, we have like a curve around here. So let's do this. Let's make this live, go to our quadraw and let's start drawing. So we want to have we want to have a red detail around. Something like this, I guess, a little smaller, it looks like. But roughly this. My can. And then we want to let's fabri this. Not the top but but can stay like this, just the bottom part. I want two edges. Okay. Then now let's extend this downward. So now we want to add cut basically this until here. Let's just add a bunch of topology here. Like this, great. And here we want to add a strap around like this, I guess. So it's the small extrusion. And let's add a strap that we can send tool, I send looped. So it's nice and clean. Same here. Let's just add some geometry. Then at the back, we have float around here. Oops we want to move it up around here, something like this, I guess. We can always change this on the flight, to be honest. It's super fast anyway. That's just bit lower, I guess. Let's just get something in quickly and then let's see how it looks. And if we don't like it, we can just always alter. Something like this, exactly. Okay, then, let's take a look. I think because only the inside will be red, I think we need to make this tiny bit bigger by moving it down a bit like this and moving them to the sides of it like this. Yep. So now let's add some geometry in the center here. S like this. Okay, cool. Okay, now let's let's make sure, first of all, the backs nice and clean. So we want to a more topology here and use centrals afterwards. So we want to have those guys basically connecting. Let's open up centrals. So this is a nice round circle, exactly. And then we want to have also a nice connection down here. So edit this as well. Yeah exactly this. Hey. Okay, cool. So now we can use the inside edge loop tool with equal distance. So if we introduce a look like this, as you can see, they're all the same distance. So if we get rid of those guys, we are certain it is the same thickness on all of it. That's a good way of making the floats the same size. So let's send this out this out. And here, it's already, let's do some sand tooling here as well. Also here, I guess, then let's select it all and a nice wobble, so it snaps again to the surface. Same here. Well, now let's take a look. Okay, we want to detach it here, this guy. And we want to detach those guys. And let's make separate acids. So this guy should be red. So let's make it red. And that's extruded just a bit, so it has some thickness to it. It's the pc and the top as well, we don't need this. Then let's just add some loops so the corners stay nice and hot. We don't need the life surface. I'm sorry. Well, let's do it like this. So we select all those ditches and add a bubble like this and let's just kill this supporter. Yeah. Oder to kill this. I just a cut up here somewhere. Here, let's keep this for now. But those guys, we're going to add a loop in the center again, like this. And let's meet this up into very center. Let's select all of it and transform it out. There was a slightly, and then just the border edges again and transform them out more like we did on the checked, basically. Let's move those balls to the center. And now let's detach this guys. And let's add loops here supporting this. This roughly. Let's make black as well. So we have our nice cut here, basically the same that we did on top. So let's just make sure it follows the folds as well here by introducing some loops and pulling and pushing some words around, so we want to push this out a bit up a bit, and we want to introduce supporter here as well. Let's also support down here. Cool. Go to do the same thing for that guy now, so we're going to transform it all a bit up Outwards I mean, sorry. Introduce the loop in the center and then just transform those guys outwards a bit. Actually, let's delete this guy, and let's just have it like this. Let's see. We move this spec a bit now and make this Black. How will it look? Some more interesting. Maybe let's make it a bit thicker. But other than that, I think this could be fine like this. Oh, yeah, cool. I know the back we want the nice bubble again, so we're going to select it again, transform it outwards, at our loop in the center, select the rest and transform it. Outwards, again, a bit. Again, select the center loop and detach it and make it all let. Okay, cool. Okay, then, let's make this slightly bigger. What if we delete this inside one and make this way bigger? Let's see how this will look. It looks cool. Could look cool at least. Yeah, this looks cool. Okay, then let's do it like this. Let's select all the floaters now, and let's duplicate them to the other side. Okay. Let's check the Board again. We're missing something. But I think I think that was basically it. So now what I would do is I will do another pass on everything off screen though, like a pass on I will put everything to Cebush or whatever is in Cabush and just look at it again before we move on to low ply. So in the next video, I will show you if I changed anything, what I changed. And I guess it's not a lot it will be just some minor tweaks, and then we will just continue with our low p. But. 32. 30 Lowpoly Part1: Let's start the whole low poly process by creating two different assets first. Let's start with a easy heart surface piece, then let's do a easy sculpting piece, so I can show you different methods there are for creating different pieces. So let's start with the cup. When you're creating the low pool of hard surface piece, most of the time, you can start off by just duplicating the high pool deleting deleting the support edges and go from there. But sometimes you want more resolution, and it's hard to get more resolution if you're not just duplicating it by connecting all of those, for example, and then circulizing them again. But then we have, for example, 24. But let's say it's too much and we want 16 divisions, for example, 40 square. There's not really a good way of getting it fast. In this case, I prefer to start from scratch from a cylinder. So let's do that. I would just create a cylinder, put it where I want it to be in the center here and just type in, okay, 16 height divisions. Then we can go on and start moving it into place. And we just need to be very careful about certain landmarks, basically. So we want to have all the silhouet changes here, so I extrude this inwards, extrude it upwards. I extrude inwards. I make sure this is nice and flat on the bottom. So it's not too far in and not too far out. Then we can delete the top piece here, for example, scale it up, move it up. Make sure it lands around here, scale it down again. And we already got the same as we had from duplicating the hi poly, but now with the exact amount of polygons that we wanted. So let's go from here. So again, just extrude and scale to hit those silhouettes. Because that's the most important thing is that we keep all silhouets in the low poly. So we don't want to create the low poly that deletes too many. I mean, some shoete you will lose, but we try to stick as close to the silhoutte as possible. Let's make it smaller here. Things like this, we can basically do it the same way we did the hi pool or we can just put lettuce on this. Like this. And then we can inside view, maybe move this into position. And as before, we can go into the lattice and change the influences here so it's more round. Then we just need to make sure the low poly lines up nicely now. So let's select all of them. Let's also make sure it's the lines on top of here. Yeah, this looks good. So we can clear the history. We can extrude these inwards. Oop. Or just extrude it and merge it to the center. Now I would say, let's de it all but those two, and now do an extrusion with an offset, so it doesn't get wonky. Good stuff. Then we extrude it down, scale it down, so it's nice and flat. We can also circlese if you're not sure. This looks nice and round. And now we just want to hit exactly this circle in here. And as we can see, that's already pretty much the low poly. Things that we can do now is, for example, get rid of some polis down here because they're not going to be very visible in the silhouet, but we don't need to do this kind of stuff. And we could do the same up here. But to be honest, I would just leave it like this. So we have a nice round shading, and we're not working with a tight budget anyway. So let's make sure to make all of those edges soft and only keep the ones hard that makes sense to be hard. So this guy, those guys don't make sense to be hard. So we can make those guys soft and those guys hard again. And then we want to create a bilin on top of this, a rather dark one, but a shiny one, so we can see all the shading arrows we have on the low podium. This looks very good. And that's about it for the cup already. So let's move on to something like the shoe. The thing that we can do here is start start from the sole, for example. So if we duplicate this one, we can see right now, it's too little resolution to work with it. But what we can do is we can instead of having supporters, so we're going to get rid of all the supporters. Instead of having supporters, we can detach those etches. Let me show you in a second. So we want to get rid of that one. We want to get rid of that one. Let's make sure exactly. And then we can just get those hard etches back in. So we one here The guys were hard. His guy were hard. And now we can select all our hard edges and detach them. And now if we smoove it, we can see it stays hard. But when we smoove it, it doesn't it. So what we can do, in fact, we could delete the top on the bottom, when you think about it because we're just going to kip it. And yeah, now we're just going to smooth that guy once. And we're gonna delete the new edges he created for us. We don't need those. Like this and we're going to align this one guy here. And we already have a way smoother version. We kept this here, fill hole. Let's see what quadrangulate does for us. So I use triangulate, then quadrangulate it later. So first trangulate it. Let's do it here again. First, trangulate then quadrangulate. And then I clean up what isn't cut nicely like this portion here should be cut like this? Okay, cool. So now we have a pretty good start already for the boots. So what we can do now is set this guy to life. Go into our quadraw and start drawing the rest of the shoe. Tip that I always do here is, don't start off by creating every quartz by hand. Easiest is to make long polygons that you cut later. So make long polygons to cover everything so you know where the main shape is going to be. And then just ya cut it in. So we're going to do this. Here we can cut straight over. Okay. So I keep them long for now, so we don't have too much geometry to worry about. Back here, we might be able to get rid of one loop. That's better. And for the folds, we want to try to have them in the locul as good as possible. So let's do it like this. Then let's just extend these ones. Maybe let's add one here, extend the ones as well. Sach it to this one. Great. Now we just want to extrude this one up, this one up. Exactly. Now we just want to extrude them basically all the way to the top. So let's isolate the boot for this. So it hard again. Let's select this edge loop and move it up. We can also try using circle light on this loop, so it's nice and round. Like this exactly, you can move it all the way up. Now let's see if we can add some loops in here. I would say at least two loops here. Let's cut this differently first, like this so it's nice and coded. Now if we add loops, they're nice and round, let's use circulise again up here. Let's move it into position again around here, circulis again. Here. Good stuff. Okay. Now let's try to fill those holes, so we want to shoot those guys upwards. And we want to merge them into those guys, I guess. Also creating lopi is a very organic process, I would say, especially from hard surface not hard surface from sculpted pieces. So as you can see, I'm just trying and seeing if it works. So we need, let's say one more cut here, two more cuts here, I guess. Who. That's good. Those guys in. Yeah, this should work, and then we just need one more loop here, one more loop here again. And now we can finish this out with quartz here. If we do it like this, great. So we're going to do the same on this side. So we're going to screw this up once. And as you can see, it doesn't need to be perfect right now because we're just getting the topology that we want. So no need to no need to worry about how clean this is right now. And then just close this up. Nice. Same here. So we need one, two, three, four, four cuts, one, two, three, four. And now we want to just close the holes. Oop. And we want to add some geometry here. We don't need it in the front. It's fine if it stops around here. Okay. Now for this guy, we just want to add a bunch of geometry here. As well, before we do this, we should use, again, send tools to send those guys out. Start it first. Send tools here. Also send tools. Here, I guess. Then let's move it into place again. And now let's just add some cuts, especially where we have those folds and then just sunk up here. And where those folds are, we want to make sure to move those cuts to move the topology exactly where those folds are. What we can do is change the opacity of the cage, so it's easier for us to do this. So here, here, we can do a cut. We can do this cut here. Then we need a cut up here and a cut down here. Okay. For this guy, we just need to do it like this, basically. And for that guy, something like this, I would say. Also, those cuts don't need to be perfect for now, which is when I have the geometry there. And what we want to do now is let's add one more cut here. What we want to do now is use sent tools on those cuts so they are nice and straight. So we want to go from here to here, here to here. So it's like from here to here. I want to make sure it's nice. And even, but also on the geometry where it should be. This we can leave like this one. Here, we should do the same again. So those guys. Those guys. And those guys cut. Same here. Hey, here, we want to space it again. Same here, and here and here, and here. Then we want to make sure they're all nice and all the potty again. Same here. Okay, so this is from here to here. I'm going to make this one hard as well. Okay, nice. Now, when we are at this point, what we can do is again, detach our hard edges, which would be those guys. So we have the sole that's hard and we have this that should be hard. And if we manage to, I would say, let's spin this out. And let's spin those guys out, and let's keep those guys hard. Now, let's select all the hard etches and detach it. And now if we use the cord draw and smooth, the corners where we detach won't get touched, but the rest will get nicely spanned out. So that's a great way. That's a great way of creating even tolotue without ruining everything. So let's combine it all again, and let's make sure those cuts are nice and straighten out, so we want to Make sure to use multi cut to get nice and straight lines here. Satisfy combined. A. Same here. Nice and straight lines. Hey. That's basically how I do organic shapes. Basically what I just showed you guys. At the end, I always use multi cut again to get those wonky lines out of there and make them license state. So here, for example, I would say we can even go over this cut, maybe connect those two guys. Maybe even add a cut in here for this guy. And the aim is to make nice and straight cuts. Okay. So that's our first low poly low poly piece. And yeah, we will just continue with the rest in the next video. 33. 31 Lowpoly Part2: Now let's continue by doing the lo pool of our pet, for example. Let's see. L et's start with the middle piece, so let's just duplicate this part. Let's send that pivot and let's rotate it a bit to the front so we can use the front piece to create this space, basically. Just want to make sure it's still the lines of everything. I want to unsmove it. Let's just take those guys and extrude them a bit to the front like this, exactly. And now we will just try to match the curvature and everything. Like Okay, cool. Then for those sides, we want to make them match perfect, as good as possible, so we're going to scale them down. This one, we want to basically be exactly the point where the white pieces meet the black piece or the center of the floater, basically, like this. Now we want to add some more loops. For example, here loop, I would say. Let's use H loop. Yeah. Which one as well. Okay, cool. Those yes we're going to bake on. Now for this bag piece, I would say, let's duplicate this one again. So let's duplicate that one. Let's unparalle this one as well. And let's delete the support loops. And let's just extrude this one. And bubble it here with the Okay, cool. Now, I would say let's um, like the silk it Lupus, it looks um, shading but it's like the h bool. Now let's try to let's try to pull in those two guys to pull Newman and clear our history, and then we're just going to try to clean this up. We can also select the symmetries and try our symmetry on topology works. Yeah, but. Okay, then let's not do it. Then let's just try to make it the same on both sides. But first, you want to merge all those words. So we have no floating words on the center of an edge like this, for example, we want to clean all of these up. We want to merge everything. And now we just want to add more edges, so we want to add ache. Was this one maybe. Okay, let's do the same here. De this one then? Do we actually need those two? Now, we can delete those two as well, it looks like, so those two. So we have it both sides the same, basically. Yeah, exactly like this. Now, that's the edges here. Let's make sure those two are one as well. Okay. So that's that we're going to add shade down it. Now we can just clean it up by killing this edge in the center because we don't want to have those guys, if we have a face like this, we can just connect it like this and save some polygons and the words at the end. So let's do it like this. Okay, cool. So now let's, for example, to those guys, again, because it's mechanical just duplicate it. In this case, I would say let's smooth it once. And it has right now 12 12 segments, which is fine, I would say. Also because we don't really have a hard pulley limit. Yeah. If I do stuff for my portfolio, where I don't have hard poll limits, I just, like, I don't really worry about it as long as it looks good and round because it's better, especially if you do stuff for the portfoli. It's better if it just looks round, then you have a pulley contact that you reach or something. Because at the end, that's all people see, right? How good does the loople look? Did I save 100 polygods somewhere? Of course, it's completely different if we do production. Then you have a certain polycun that you need to reach. But then I would also start with higher polycuns and reduce at the end. Let's mirror it. Let's combine those two, and let's bevel this so we know exactly where the center is, and then let's just shoot this to create this centerpiece. Okay, cool. Length wise, this is fine, as well, great. So let's also give this our low shader. We make sure we don't have diges we don't need. And let's continue. Maybe with those guys. Again, duplicate them. I should be pretty simple. We have a box here, so we can do something like this. For example, where we select those two, expand it, and then the rest here. We can clean up those supporters now, and then just bridge those two. But something like this happens, you either go in and bridge one side first, then bridge the rest or you just use this twist perimeter here and twist the faces till w. So far it's good now. So all that I do now is here, we're going to delete this because we're going to just build it from disguise and we're going to slide the speck a bit. We can duplicate it again, delete all, but this sphere, make this sphere. Let's move this sphere and loses our light surface. And then we can just extrude words or faces here, just work like this basically. So either we do this or this again, or we rotate the sphere, same direction up, which it is already. And then we just again, pool it together. So yeah, we can do both. Let's pool it together. Again, let's clean this up. Like before. Okay. Now what we really want to know is how much does it penetrate into this one? Because we are not using. We don't need the ones on the inside, so what we can do is just delete the faces on the inside, basically. Now, we don't need these guys. Don't need those guys. We don't need this whole thing here. And then we can just select all the words and click press let. So it's all triangles, the connect the border edges. We save a bunch of volumes. Now that I see it, we might want to add some more edges here, select all of them, do a ring selection and connect them. Then we can select polygon, do a loop out of this and press tro. Oh, little big. Okay. Let's then add a detach here and detach here somewhere. Let's do it again. Loop. And add it get because I don't really care about the curvature here in the front, but here on top, I want it really round. So that's not a bad thing. Again, let's clean up those etchings now. C. Okay. Now, merge everything again select those edges and make them smooth. What we can also do is press strangulate on this because we want to have this connection, not just one sided. So same here. Okay. Now, if you look at this part up here is small. Okay, so we want to make those guys polymt as well. Then we want to mirror those guys again. Like happening. Cool. So what's missing is cart on the bottom, again, like before. Let's duplicate this one. Here, again, I would like on the shows make those guys detached. Not this guy detached. Let's delete the supporters and then let's use our smooth modifier. Let's delete the new supporters it created here. Let's just take a look here. And let's work from there, basically. So we want to add a new pier and we want to extrude it or let's delete this and it's still the same to this guy, basically. And then let's just combine it after we've done it. So we want to delete this again here as well, or we want to just delete everything. We can always reach it later again. Oh, here's a useless edge loop. So let's did this and let's move it. Let's dot those edge loops again. Let's select those two again, combine them. We want to do inside, and bridge those guys. And then we want to go in, build this whole thing here. No problem. Now we want to connect those guys up like this, so it's nice and straight. Okay, like this. And then we want to do one in the center here like this. We have a code here and here. Same here. And now let's put the low rise material on it again. And this one is done as well. Cool. Let's continue with this kind of. Again, let's duplicate it. Let's take a look. Um, again, I would go for a smooth trick, so it's nice and round. And then we can always get rid of polygons. So what I would say is because we're not going to model this out anyway, right? So we can just delete this guy. Delete those guys? Then yeah, just make these guys tart again. Or detach them, sorry. Here we want to delete this inside one. Slide. Get rid of those girls as well. So we have a nice little geometry now. Okay, now let's press this mold again. Let's delete those guys. He created for us. In fact, now, let's gas. And now let's bridge this work. So let's bridge just one phase, select the whole thing and the bridge it again, delete this guy. So we actually need this one. Yeah, we should keep in it for now. Okay. And now we just need to clean it up because we don't need this amount of polis in here. We can keep it on the corners, but here in the center, I would say we can get rid of Samsung. Let's see where's our center here. So we have one, two, three, four, five, empty, one, two, three, four, five, empty, then we start selecting. Like Let's do ring selection collapse it. Let's delete the center one. Ring selection, collapse it. Let's spit. Those two guys. It. Yeah, we can even do this. That's it for the round thing, I would say, here, we can clean up some pieces as well. But I want to keep a bunch of them in so it's nice and round from the side. Yeah, it's like this. Here on the inside, we can do a lot of cleanup. So this whole ring, we can collapse, we can collapse dis like this. Like this. Because the inside, we're not going to see the silhoid anyway, so we can just collapse a lot, basically, because all those details, the normal me will do for us anyway. So yeah, we can just save a bunch of polygons in. See. Yeah, this should be more than enough. Let's see on those borders, I guess we can just merge them to one word? Yeah. Should work. And then we could even, clean those guys up. So it's less because we're not going to see this anywhere. On the inside. Still this here. Yeah, but other than that, this does look nice and round, now. Let's put the loris material on it. Yeah, it does look nice and round. Doesn't have too many polygons. If we wanted to, we could still collapse some parts here. Yeah, let's collapse this as well. Yeah, but generally speaking, this one looks good cool. So now, again, those guys duplicate it. We just move on it like before, and let's just useless. Rings here. Let's make this one straight like before. And let's use a edge on those guys, so it's nice and round. Again, here we don't need those guys. We want to make this one. Also straight and use a edge on those guys. Same here. Nice. Straight. Let's delete all of those gummies. I should have made a detach out of this. But it's fine. It's well supported anyway. And here, again, we can delete all of this hoop and connect it like this again. Make it soft? Okay, cool. Here we want to make this one. Straight again, and then use dt op on those guys. Again, for this part in the center, we want to add support this here. We want to make sure those support is lined up as good as possible. Or even could just add the multi add a cut with the multi like this, the multi cut, and then let's extrude this. Like this, let's just try to stay as close as possible to our high pul by adding more cuts and moving some butts around. And one more here, maybe. Maybe let's add this one here as well. And let's get a bit smaller. Okay. Looks good. Let's make this one our lowest material as well. Okay, so all we are missing here is those two wings, and then we can mirror it, and the pad is basically done. This way we're going to do the same as this, so we're going to duplicate it first. We don't need this floater. We can just get rid of it. Here, I would say let's just delete all the supporters So all of those guys Let's see if this is round enough. If not, we can always go and just a polygons and use the era or we can just select those guys and bubble them. So it's nice and round. Here, again, I would rotate it so it lines up with our what's it called with our Tubia? Mhm. We can use a custom axis set to edge because then the pivot stays in the center if you do like this. You can find this. When you press W, for example, and left mouse button, you can go X is custom and choose set to face Edge point. This one, it leaves the period where it is because if we use D and click somebody the Pivot nose as well. That's a nice trick for that one. Okay, let's bull nose two guys again, like before. And yeah let's clean it up like before. Okay. Again, we can triangulate this. So we have a nice thing here. And then again, we can just select those two and see what don't we need and they need the faces we don't need. So we don't need a whole lot of faces here. Oop. Still somewhere connected. Then again, delete the edges out of the words. That's it. We're going select this guy again. Duplicated movie tier. Then we're going to select those two again, and we want to mirror them. Best case, our best way again is using circling this guy as well, and aligning pivoter, bake the pivot down and mirroring it. Same for this guy. Okay, cool. Now, let's put the lowest material on everything. We see this guy still. Okay, cool. Now let's compare it to the hi poly. Looks like we are not missing anything anymore. So let's combine all of this, put it in our pet group, in our history, move it into our low poly group. And our pet. Yeah, our pet is done, as well. So let's hide the hi poly. And let's continue creating low pool. Let's continue by working on something organic like the here, for example. Those are pretty easy to do, but it just takes a lot of time. But what we want to do is make them a life surface and just start drawing in the geometry. So let's start with one of those. Spikes here. We want to follow the shape, basically, as always, Chute is the most important thing. But the actual, like, distribution is not that important right now because we're going to use sends anyway at the end. We just want to have like the poles in so we can redistribute them later. So as I can see, we're just going to draw them in like this. That's pretty much it. A another thing we want to keep in mind while we do this not keep in mind, but we want to do is assign hard and soft edges because a thing we want to do later is, as we did before, detach all the hard edges and then smooth everything that's inside one shell. So as soon as this one is done, we can do it on this strand already. And the rest will be just basically duplicating what we did here. Okay. Okay, like this. Now what we want to do is make sure those edges line up as good as possible. They like this. So they are where we want them to be. Also this morning in the center here. So it lines up directly on the crease here. Okay. Now we want to use send tools on those guys here. Then we want to use sent tools to spend, and then at the end here. And the same here. So on this curve on the bend and then the last two guys and the same here, we want to use sent tools here basically on those guys, then on the bend and on the last two guys. Now we want to make this one hard. We want to make sure it's nice and aligned with the curve again because we can see it wobbles a bit, so let's use cent tools here as well to make nice them straight. Then we're going to just select all of it and move it slightly up, so it snips again. And now that we have this hardage in here, you can see, we can detach this hardage. Take our Quadraw tool with soft selection. Let's just make sure in the soft selection menu, we have surface in that volume, but we have surface in that volume. So we're just going to use smoothing with the draw. And yeah, that gives us a nice even topology. It's just let's cut this because then we smooth, we'll get a slightly different sot. Don't press on the boilers because that will smooth the borders. We don't want that. We just want to move inside. We cool. Then let's just combine it. Let's make sure we still have all the hard etches, and let's continue. And we're just going to basically do this orifing and smooth everything and centle everything and that's how we want to create our measure. So nothing, hard to do, basically. Very easy, in fact, just takes a lot of time because it's just a lot of things we need to do because it's a lot of here. Also, we should try to keep the distribution roughly the same. So it looks nice and round in the shout, so we don't have some strands that look super dense and some that are not dense at all. So always keep the edge length in mind when you do those. Having a nice distribution is also good for animation later. If you want to animate it, put bones into different strengths and move them independently. Now, let's make sure. This one is nice on ground, as well. Exactly on that heartage. Okay. Now, let's make sure we have enough polygons in here. That's that's another one here, here, here, here. We don't need. We don't need this guy. Okay. Let's see how we can this up. A I would say we're going to cut it like this maybe. This one like this as well, and like this, so we don't need this. I would say that's cut like this to eat this. Yeah. Now, if you look at it again, we want to make sure all those new faces are smooth. We want to make sure that they all, again, sit as close as possible on the border, exactly. And then we want to use sent tools again to space it all out. Same here. Then again, this one would be hard. We want to make sure those guides are nicely spat out as well. And again, we can select all those newly created words, move them slightly, so it snips again to our surface. We can see. We can again select all hard edges, detach them and use our draw smooth like we did before. Let's see. Yeah, it does look cool. Yeah. Let's add one more cut here. Let's combine it first. And let's just use one cut here. So we have a nice round edge here, end here. Let's just move this in place a bit. But for the second one. Et's make sure all of those guys are soft except those harages we won't have. Let's see if the lines properly with our border here. We, this won't move too much, see. Must have not selected all the polygons are needed. Okay. Let's do it again. H. I think you might want to add opia. So we have more polygons to play with here. A. Then let's select all of those birds. Yeah, hook them to our geometry again, like before, select hard, touch, and let's move it up with soft selection. Okay. Yeah, I'm just going to continue this. I'm going to fast forward it to you because it's the same for everything, basically. Yeah. Hook you as soon as I'm done with 34. 32 Lowpoly Part3: Okay, I think now that we've went over all those pieces, there's not really much difference in any other pieces that I'm going to create. So I'm going to just fast forward the creation of all the other low poly acids, and we will talk about maybe some things that I encountered at the very end. A I So a D. D. D. D. D. D. The 35. 33 Uv Part1: Okay, now that the local is finally done, we can start creating the weeds for it. First of all, we can take a look at what assets will be mirrored at the end. So we don't need to UV them twice, basically. And we can move them into a separate group. So layer, I mean, so we don't actually touch them while UV. So looking at this robot, I would say, all of those assets here that on the side, we don't need to UV twice. So let's just create the layer code duplicate for me, and tight it. Also, those guys, we can we can put in the We could also think about only doing one of them, so let's put this one in here as well. We basically want to save as much ispace as possible. Also, food we can put in. This guy. This whole piece here, exactly. The headphones, I would say maybe not exactly half of it because I want to keep those guys a small piece. But let's say so let's ungroup this top piece, all but the top piece and the top piece hop. We go to keep this? Here as well, we have three times the same screw so two, we can add to this. These guys, we only need to UV once as well. So this guys, let's see. Here, we could move this guy here. On the legs themselves. No, let's keep them unique, but let's cut those guys off here. So we can yeah put one of them in power. Duplicated tackler. Okay, that does not look too bad for now. And all the parts that are not hidden right now will be unique. Yeah, it looks good. If we see something while doing Us, we can always add stuff. Okay, then let's start by doing the Uz. I will do it like this here in this small window so you can see both. Normally I would just add this big screen to the second monitor from there. But for this troy let's do this. Let's start with this guy, for example. So the easiest way to do the Us is select all of them, and let's do it player mapping first. Now, because we have set the heart edges already, we can just select only had, and look at what he gives us because this normally should give us a really good start. So let's just select all of those guys. No there. All of those guys, select hard, cut it, and unfold and layout. So we have a basis to start with. So let's start with this guy. We want to keep this together, I would say. And we want to keep those guys together. So we basically have two shells where the materials met. Now what we want to do is we don't want to have them randomly rotate like this. So what we want to have is we can use the orient shell to make them straight, looking at the bony box or we can go in and selects just that we noted are straight. For example, I know that those guys are straight, so I can just select those guys. About two words of those guys and use the orient shell to edge command. So it's straight now. Also, if we know that things are straight in FD space, we can't just make them straight in UV space. Like we know that the guys straight here, for example, so we can just select them, align them onto the right, for example, select everything else and unfold. Okay, looks good. But those guys we can keep already. Let's continue with this guys. Here, all we need to do is add a cutdown center, basically. So from via too. We can attach those two guys. And we can also combine those two guys. Now, let's unfold. Let's see. Those guys we should also make straight. We can use this straighten both thing that I have in my in my making menu. It would just straighten everything. Here we want to make sure those guys are straight on both sides. And then we want to use only unfolding them on the U or here on the B to make sure it's not pushed together. And if we see something like this, we can still make it straight because they are nearly straight. Okay, cool. Next piece. Let's see. This sphere we might want to keep like this. Those guys are already super straight, so we're going to keep them like this. And this guy we will need to cut off somewhere, so let's cut them here. And that's it again. This guy will need the same treatment as before. We need to cut them somewhere. So let's just choose an edge. That's not super visible like one of those back catches here. Let's cut it here. Let's collapse those guys. So this is one piece again. Let's use this straight above again above and then unfold them along the B. Same here. Unfold along the U. We can keep them straight. Let's make those guys straight again, the bottom, and the rest we can keep like this. Here we could even think about another seed. Deleting one half of those two. So let's detach them. Okay. Oh, yeah, separate. Then delete this one, and now this one we can just duplicate again. And put in out bouquet. Okay, good. This guy, why do we want to have cuts here? So I would like to keep those two together. I also would like to keep those two together. So we have three shells at the end. This guy here and also the guy on the back, basically, we could even combine those two and cut them here to make a line out of them. Yeah, this will work, okay. We make this nice straight line. Just select one of lines, align it to the top, grow your selection, deselect the top piece, and align it again. Gross selection, low cross election, line. Selection the line. Now what we need to do is unfold them along. We need to make sure those gaps are the correct space. So, they look like the correct space. You can just select a bunch of them and to unfold, so you see what the spacing should be. But it looks pretty much what we have. Then let's make the ends straight again. Let's unfold along inside. That looks good. This guy, again, we can just align. Okay, let's do this big one. We want to have the I separate here. That's fine. We want to combine those two. We can have this separate, but we want to add a cut down the line here down the middle here, and those guys want to combine again. Okay? This will work as well. This is the top part. This is the I. So now we just have to think about what to do with this one. Easiest would be because it's covered here anyway to add a cut down the line here. So let's do this one. Yeah, that's better. Et's see how stretched this is super stretched in fact. Well, if we add a cut down here as well, let's see how this will look like. But I don't I don't like to have a cut if we get a cut like this. Yeah, that's better. Okay, then let's do it like this. Maybe we can even combine those guys here then. We still have proper Us. Doesn't look too bad, to be honest. Yeah, still like this. Okay. So let's continue with these guys. Should have to this guy. That's basically fine. Here, we will have the same issues as before. We need a cut here somewhere. And that's done. Okay, so if we select all of them, they're all you bid now. Okay, cool. So we can forget about those gutsal. Let's continue with the next one. Or let's do some organic shape next. Like the boot supply. Plainer wrapping again, select all the hardages cut them, unfold. Let's go from there. Again, the sole, I would say, let's keep all of it combined. Then I would say, let's keep those two guys combined. Let's just cut it open at the back. And for this guy, yeah, let's keep those combined with a cut at the back. And this whole food here we will just cut out make the baking let's unfolding take a look at it. We wmight want to combine those two. Yeah, we can combine those two. Yeah. Okay, so let's take a look at the big one first. Here, I would go in and make as much as possible straight. So I would make the top piece straight and the side pieces straight because I know that this back line, it's basically straight. The top piece is basically straight. So now that those are straight, I select everything else and unfold it again. Then I select all but the top edge and unfold the long, then all except right and the left edge and unfold. Again select the center pieces unfold. And then I just do it a couple of times till it's as unstretched as possible. But I think Okay. That's already pretty much the best we can get, and it looks pretty straight here. So we're gonna keep it like this. But this guy we want to make that guys straight, I guess. This select thing else unfold. And that's fine. And also those guys, yeah, it's fine. We can just leave it how it is. Okay, put done. You can see organic stuff is pretty straightforward as well. Let's continue with pans Let's take it. I would say we want to have a poet separate. Combined so it's still put the pocket separate. Same on this side. So we want to cut those two that I forgot, select those shells here. Commander. And for the pants themselves, they should be basically shells, I'd say. I want to cut them down in the crotch And then we want to cut them on the outside here, so I would say maybe we can even use symmetry but this card. So down here, basically. Now, let's take a look again. Yeah, looks better.'s combined somewhere or is this up here. Those cuts you want to cut off anyway. Like this. Okay, good. So now I would say, let's start with the front piece. What we can do is make a projection from the front like this. So we can keep the top piece already straight. Now we can select everything and say unfold along. U, select all but the top piece unfold, as you can see it moves out a lot. So what we can do is just select center ones maybe because what we want to have is like those guys straight and then unfold it again. So let's see how we can achieve that. If we cut earlier? Okay. Be easier like this. L et's select those guys. Let them straight. Move them to the side. Same for those guys straight to the side. So we don't want to touch those three Edges and the rest, we're going to unfold now. Okay? We're going to unfold along. We on these guys, then we're not going to select those along you. Let's make them straight again. We can also make those guys straight, I guess. Then again, not those guys. Along. Along me. Now, let's check with distortion. Los. Okay, cool. Then let's combine those guys together, those shells, and we want to do basically the same for this guy. So let's see. Let's say those guys again, straight bit to the left. Straight bit right of the center. Let's select everything else. Unfold. Let's do the We unfold. Let's make this straight. Let's make it straight like this. Let's do an U unfold here. Let's get everything again. We unfold. Select all but those lines and let's do. Just a normal unfold again. And let's just try it a couple of times till we get a good result here. But it looks like it's already pretty good, to be honest. So let's take a look. Yeah, it looks pretty straight. What we can still do is by example, make those guys straight as well. Then use me again. Same for those guys. Straight, use the longevi again. Now for the pockets. Let's see. We want to have those guys straight, I guess. So this line here, basically, we can have a centerpiece, then align the rest around it. Now we can see, Okay, this should be straight anyway. Make it straight. Same for this guy. Make this top piece straight. Okay, cool. What about these guys? We can think about making this inner edge straight here. Then we just use unfolded and those guys. Again, let's make this straight, select everything else, unfold. Unfolded on you. That's pretty much it for the pens. Okay. Let's do one more mechanical piece, and then I will again just fast forward the rest because it's always the same. We always go in. Select for example, we could add one of those to our dub group as well. So let's go in, select all of them. Combine them. Reflex. Select those guys, play the mapping select all hard. Cut, unfold, layout, and let's go from there. Again, this guy, this top should be piece. That's good. We can combine those guys. See, and cut them open somewhere, for example, in here or something where we don't see really and make a line out of them. Okay. Unfold the rest. Along again. You know, let's make sure. It's all nice and straight. Unfold you again. It's good. Same for this guy. Those guys can be straight. Select the rest. Let's just unfolded. Let's make sure this one is straight as well. Select everything along. In this case, Same here, select those guys. Make them straight. Select the rest, unfold them. Select those guys, make them straight as well. Now select both of them. Unfold the rest, and now a long again. You can also make the top straight W I see it here. Select all but those H words here and do a long again. Same for these guys. Let's make it straight straight. And the long. Okay. So it's done. Next piece. Should be pretty much done. I would just get this together, so it's more one here. But we want to keep the cut on the front, so we have a better shading here and where's where we don't even see it. Okay. And this guy, all we need for this guy is the cut down the center here. And we can also cut this off like this. Now, again, we want to make this as straight as possible, so let's use this straighten both again, and then a long. We want to make sure the bottom is straight though. I want to make sure this is also straight. Then let's just select those guys into G again. Those guys should all be straight. G. Looks like it's not perfectly aligned though. Yeah, let's just select those inners into normal unfold G. Nomalunf and let's leave it like this. Okay. So we have those written. Now, this one. Here, I would say, let's keep all of those combined, and the whole de piece again, good stuff. Oriented. Not really much to do here. Yeah, that's basically. So let's select all of them and layout them so we can take a look at them. Side by side looks good. Okay, cool. Okay, cool. That's basically how it works. And I will just fast forward the rest of the UVs because it's basically always the same. 36. 34 Uv Part2: Now that our base UVs are done, we can start doing our final Uvilot. What I would suggest is at least do two different uvlars, one for the hair, and one for the rest of the body. We can do more than this. We can spit off the pad or the metal detector. But I would at least do two of them because I want to have a separate shader on the hair, so I therefore want a separate resolution on the hair as well. So let's start with the here. Now, you can see the sizes are different of the two of them. Also, if you look with the checker pattern, to get both on the same size, what we can do is go to layout and just do the legacy layout and make sure it's set to prescale world. If we do it now, you can see it scales it to the so the size is the same, looking at the world and not like the objects themselves or none of them. Okay. So now this is done, we can use the unfold free. As you can see, pretty standard stuff, small packing size, packing resolution iterations. You can use like how often it tries it until we get a nice packing. We don't want to have it scale or rotate it before the packing, so we turned both of those off. But we want to allow it to rotate it in 90 degrees steps, so it can do those rotations, but it still keeps the line straight and doesn't do like something random like this. The size depends on what you want to do. Let's say we want to do a four K map, then we want to have a shell patting of 32. If we say two K, we want to have a shell ping. It doesn't really change because it's all relative to the map size so we use two k at 60 and if it's 496, it's 32 and so on. Why do we do such a big number? Because we want to have nice bleeding and don't get into issues when we zoom out or when the texture compresses. Okay, then let's just run this. Let's see what it gives us. Most of the times it's pretty good already, and we can just leave it like this. Yeah, this looks not too bad. Let's see if we can improve. Because we're missing space on top here. So what we always can do go in, scale all of it a little bitter, and then take those parts that stick out at the end, rotate them and see if we find some space for them up here. That's the one that's kind of tricky, I guess. So we either scale everything up and do the packing, basically the last couple percent of the picking ourself or another thing that we could do is scale up specific pieces that we feel like should have more resolution and do another packing. For example, you could say, I want this front piece to be bigger or something and then do another packing, so let's say we want this to be a bit bigger, and then do another. You can also, I mean, for the hair, it's not nothing I would do, but for other pieces, you can also scale down pieces that you think is unimportant in the final billiard. But let's go now. Let's move the pivot here, scale this up a bit with those guys out, rotate them and see if we can make some space like this. I guess we can find a better billiard like this somewhere. Yeah. So let's try to get this guy somewhere or remove this, rotate this. So the best case is to just do this the automatic one and then just go in and, like, try getting a bit better resolution. But also, while you do this, don't get too close with the shells. Try to keep the spacing that we see all over the place. Try to get this same spacing with the manual packing you're doing right now. So let's see. What if we do this? Okay. And one thing missing, see if we can. Let's see if we can put it somewhere in here. So let's say we're fine with this one. So let's keep that. What I normally do is to remember what goes together. I create layers, and I call this UB zero, one, y. And then I would just go for another one for the rest of our items. So again, we go in with layout. The legacy one will have the same scale on it And then for this one, what we can do before we scale is going in and scale down things that won't be visible because there are some things that won't be visible at all. Those guys, for example. So I would go in and just scale this one down because it's not going to be important at all. And maybe this one as well, but that's about it. I guess maybe the back face of this can go down a bit. Yeah, but that's probably it already. So let's select all of them. And let's do a layout. I'd like to have this pace not rotated. Let's see if we can do it without without rotating. So the phase stays like this. Oh, let's try with rotating first to see if we get a better result like this. And on this one, we should get a really good result because we have a lot of small shells, and then Maya does really good results. Oh, yeah, no, face did not rotate. That's great. Oh, but that's the thing we could do. So either we keep it like this or we go in and scale up the pace first. So we have more resolution on the face, for example. We don't need to do this, just like we can do this. Yeah, let's give this a try let's scale this up quite a lot, actually. Let's give it a try. Oh, yeah, great. Yeah. Um Yeah, I would say, let's keep it like this. Let's create a new u02. Let's save it like this. Okay, so now that the baking is done, the next thing we want to do is create our baking group so we can bake everything in marmoset. 37. 35 Final Cleanup: Now that our bas really is done, we want to prepare the model first before we can pick it. What does this mean? This means we want to have a at mesh now and we want to have the correct hard and soft ditches for our poly. So what we want to do is we want to first of all select it on, go to window cleanup and we want to find find, so select all faces with moden four polygons and with lamino no manifold geometry. So we apply this and we can see we can find some stuff here. Now we want to go over all of this and clean it up. So let's start with that one, for example, because I saw it lighted up. So I think we can do is we can either just click on those two files on those two faces and press quadrangle it, and it gives us a code mesh or the better way, we go in and do it manually because this will give us a cleaner result. So you can do either of those depends if it's an important asset or if the automatic gives you a good result anyway, then you don't need to go in and do it manually. Okay. So let's try this. Okay. Let's see. This is good. Here, we can do some cleanup work. By connecting them manually. Okay. But generally speaking, worked out, okay? Here, I would say let's do some clean up. So let's start with this one. I would do it like this. Same here. Somewhere like this on this side. Okay. And on the front, we want to do something like this, so it's nice and even as well. Okay. Here on the pit, let's see. I shouldn't have this one at all, so that's slides down. But other than that, I would say it's fine. So let's keep it. What you know with the headphones. Again, let's see what it gives us. And I guess we will go in and do them ourselves. So that's Andalus. Let's do this like that. Same here. We want to do nice and straight connections here. Okay. And more here. Okay. Again. Let's do this part, get back here, see what it gives us. Yeah, let's just clean it up again. You want to have a nice straight connection here, for example. I think this wouldn't even change anything on the baking. Like, the result would be the same because it's it's plainer faces anyway, but it just looks better on the topology if it's nicely cut. And it doesn't take too long to do, so I would just go for it, to be honest. Yeah, this looks fine. Let's continue. What on those guys. Those are cut differently again. Like this. No, not like this, like this. Okay. Okay, let's see. Holly this piece? Okay. That's good. Okay, nothing else. So our mesh is quadrangulate it now. The next thing you want to take a look at is that every hard edge is on a UI border in no whales. So there are different ways to do this. Let's start with the hair maybe. So first of all, we could just soften everything. And then we can if we open our UV tool kit here in the select menu, Okay. There is a button for texture boilers. So if we are in the edge mode and press this, it will select all of our texture borders. So what we can do is just select them here and make them hard. As you can see, this just works. So that's the way I would do it. Another way would be to just select them manually or to select them with constraints, but using this button is the fastest. So let's do it like this. Same here. Just the outer border, so nothing. Perfect. Okay. Then for the rest, select it all. Make everything soft edge. Select only the texture for a second, and make those guys hard. Hard edge. And as we can see here, only those guys are hard. There are some that should be soft now. For example, those guys here, and those guys here, I mean, should be could be soft because having them soft gets them closer to what the hi boo looks like. So the bake will have less issues because we want to have it as close as possible to the hi pool. So pieces like this, I would just keep soft. Let's just go over this. Especially whole shells. I would make soft. But other than that. Other than that, I think that's fine. We have another one here. It could be so. All those guys can be soft. Okay, cool. But other than that, it looks fine, I would say. So now we can go forward and create our baking groups. 38. 36 Baking Groups: So the baking groups are pretty much straightforward. I will just show you a couple of examples, and then I will just fast forward it again and create the rest on my own because it's just a very repetitive thing that it's not really interesting to watch. So what we want to do is we want to duplicate our qualifle and we want to separate our low pool into different pieces, name them properly, find the corresponding high pulley pieces, name them in the same way, and put them into groups. So Mamoset can find the correct files and bake it at the end. So the way I always do is it, I break the low poly up into as many pieces as possible without breaking anything. So let's say this piece, right now, it's one piece, but we can basically break it on every or we should basically break it everywhere where there's a separate file, like a separate high prote piece for it. So in here, I would say we have the tail, we have the base, and we have the eye as separate pieces, and they are split with a hardage. If they are not split with a harage by now, you cannot break them because this will give you breaking issues. But here we can, it makes sense to break them into tail, body, and eye. I will do this now. So we're going to extract this, separate those two. And call them accordingly. So I would say this is the Oh, yeah, let's hide the high the low pool group, so we don't select it by accident. But this is the PET. I, it's important to only have an underscore before the low and not before there. So not pet underscore, I undersclo because Momos wouldn't know what to do. So it's pet I undersclo in this case, PET. Body undersclo and here it's pet tail underclo. And now we have to find the corresponding hy polypds for this. So let's go let's unhide our hyolygroups, and let's select all the files that are needed for this. So all the floaters, all those guys. Let's see. So those guys here. Okay, let's duplicate them as well. Here, we want to delete the things on top, which just don't have the floaters, and now I want to break it up as well. So we have those guys. I always break it up in base and floaters. So we have those guys, and those would be the PET high now. Underscore bats because underscore after the high, we can do. Okay, then I would select those guys and call them underscore floater. Same for the body. So we have to underscue base, then all those floaters will be the undersceFloater. The tail is just the tail. So we just call it squatail height. Let's clear the history and optimize the scene size. And now we're just going to put all of those guys into an HR group, all of those guys into LR group both them into a back group and the tighter back group. And let's go from there. Next one, the wing, maybe. Let's look at it. We can break it a part into the inner wing again. So let's do this. So we have the head outer low headwing inner low. Let's get to the high polypiles again. Let's select all of this. Let's make sure not to miss the floaters. That's about it. So let's do the copies again. Um, that's n to have. So we want to have the outdoor pieces. So that's the outer high base again. Same for this guy. It's the inner high base. And all of those floaters were on the outer, so it's the outer high floater. So as you can see, pretty straightforward, pretty simple. It's just work. And you have to make sure your naming is correct because otherwise it will not bake anything. So let's just continue with the pit now. So I would break those guys apart. Same here. Here we can also break those guys apart. Oh, here's a piece, for example, we say, This could be soft again. I missed this before. Same on those guys. Now if we make them soft now, we need to make sure here. We need to make sure to go into our actual low poly and make them soft there as well. So if you change anything, always change it on both. So let's go here. And let's make those guys soft. Again, you don't need to do this. It's just a habit of mine to have those guys. Okay. Okay, so let's name them. So we have the pet pipe side, w. Head pipe side. Um, rap, low. Head front, low pet pipe front center lo. Like you can The naming isn't really that important. We have head side antenna, base low. We can have mid low and top low. Then we can have the head center antenna base low Mid low and top low again. What's missing this guy? Oh, yeah. Here, let's take another look again if we could split this up into two files and we could. Does it make sense here? Not really, let's keep it together. Head bottom low. Okay. So not at all of this is setup. Let's again, hide everything. Let's go into the hypole and let's make sure to duplicate it all. So that's guys this guy that guy, pipe here. This guys would floaters. And I think that's it. So separate files. I think that's about it. So let's duplicate it. Let's take a look. Yeah, it looks like it didn't miss anything. Okay, so let's start with this one. So it's the pet pet pipe front center. High. And then as soon as we have this, let's already move it in here. W the low. Then we have this guy Hi, again, instantly move it, so we don't mix anything up. So on this one, we want to again combine stuff. So we want to have those guys, and then this two is a flown. So that's called pet bottom low. Move it into R, and we want to have pet bottom high base. And again, pet bottom high low. Exactly. Pipes Pit pipes Low. It's this one. Hi. Those guys, the strips is those guys. So let's combine them strips Hi. Let's go with those guys exactly for now. Let's separate it. Let's separate all of those guys. And let's go in. So we want to start with the bases. By low. B Hi. Et's make sure this is part so we can see what we're doing. We have the meat. Hi. Here we will have to combine those two again. That's the one. The next one, let's see. We start with the base again. So that's this one. High. By slow, and then we have the meat again. That's this one. High. And then we have the top again, which we separate again into top high base, just to keep it nice and clean. Top high base float. Okay, and as you can see, the PET is basically set up. That's the groups we have for it. And now we want to just, we want to continue and do it for the whole for the whole character. 39. 37 Baking: Now that all the groups for baking are done, it should look like something like this. So we have our high polygroups here. As you can see, they all have separate names, and we have the according glob polypac here, same for the here. So now we're going to export each of those groups as and F big. Be careful for the hi poly. You want to have everything in smooth mesh previewed on you want to have smooth at the end because it will export this smooth mesh preview. So if you have this in smooth mesh preview like this, it will come out as a smooth mesh. So let's select the whole body and export this one. Let's create a new group. In our project for baking, and let's call this one body or hires body. Let's export this one. Okay. Then let's export our Los body. Same for the Prius here and Los. Now let's switch to Marmoset. In here, we want to press on the new Bu. Let's call this one body, for example. Then we want to click on load in the Quickloadu and we want to find those two body files and press Open. Now, it takes a while. But now, as soon as it's done, you can see we created a group for each of the pieces we named the same. So only those two pieces will be baked on each other. Okay, cool. Let's do the same for the here. Now let's go back to the body. Let's set a baking file. Let's call this one body, and let's give it a Let's give it a four k resolution. And we only want to bake the normals for now. Let's do the same for the hair. We want to call this one here, and we can keep it on a two K resolution. Let's start with the body. When we press this H, we can hide the high poly. Slit on the here as well, so we only see our lo poly and then let's just try bake. As soon as it's done baking, you can press on this P to see it on the previuw mesh. Let's double click on this material so we can change it. Let's make it white and not 100% metallic because you don't want to have the full shiny thing here. Also, let's change this sky to something with a better color the desert road, for example. Yeah, this looks good. Let's do the same for the here already. Something broke. What's your body again? Oh, this one shouldn't have any nulls. Let's see if we apply new mist to the hair. A new mature to the hair if it looks better. For some reason, it breaks. This shouldn't like this. That's very strange. But let's try let's try changing some stuff here. I think the cage might be too small. Let's make the cage a bit bigger on both of them. Let's hide the low in here. So that's just the height that's displaying. As you can see, something is wrong on the high itself. So let's assign. Let's make sure this black material has no normal map information. For some reason, this has normal information. And of course, this comes through in the bake. So let's bake it again. Tight the high, let's show the low. I just looks better. Okay, cool. Let's also change the roughness on that guy. Okay, cool. So as you can see, we've just pressing bake it already came out quite clean, and because we have so many different groups, we're getting really nice and straight lines here, for example, or separation between the cloth and the belt, we are not getting any bleeding, and that's because the cloth and the belt is a separate group at the end. So what we want to do now is look over everything and see if we find some issues like this, for example. So if we double click on this, it should map here. And the issue here is, I guess, that the offset is not big enough so let's increase the offsets. So let's go through all the files where we encounter this issue. Sees here, for example. Hey, wait better. Also on this guy. Yep. Those guys as well. Those guys. So this is a pretty easy step. You just go for everything, and if the cage is not big enough, make the cage bigger. R a small cage on this one. I see on the back on this one. Looks like it's having an issue. Here we are facing a different kind of issue, I guess. Let's see. So these issues, if the cage doesn't work correctly, what we can try is introducing more polygons. So what we can try here is, for example, introduce a cut down the middle. Let's see if it works. But this then let's just re export this whole loris group. It will automatically update in Mamoset and we can press bake again or check the cage again, and the cage looks way better now. And it's fixed. So if you encounter issues where the cage just doesn't look right, just try adding more polygons to it and see if that fixes it. Hey, but now Las one more. So that's increased that, as well. It's good. What's the dead guy? Other than that, the bake came out quite clean, I have to say. Let's get rid of the middle as for now. Send you to some other color. Let's check this one as well. Maybe this one needs a bigger cage. Yeah. And what we're getting right now is just a preview bag. So always when we are changing the envelopes, we're just getting preview bags. If you're going to get the real bake, you have to press on Bake again, and we will see the real result of our bake, basically. Okay, so let's say we are happy with our catches, we can always go back in and fix our catches. Another thing we can bake now is close this down. Another thing we can bake now is oh, something. Yeah, better. Another thing we can bake now is the albedo map because we have different materials and everything. So if we just add an albedo bake, what we will get is is an ID map basically for substance bad paint later. So we don't have to paint our ID map manually, which also came out quite good. Okay, that's great. Okay, cool. So now that this is done, there is a small trick I want to show you inside Photoshop. So we're just going to open Photoshop. We want to open one of our normal web files, so let's say body numers for now. And what we can see here now is that those floaters are pretty harsh at the border because they're just one sided, right? So we're going to we should change the cage here when I see it. So all our floaters that are one sided, those guys, for example, are pretty harsh. So what we can do is open this normal map in Photoshop. What I normally do is I duplicate it, make a smart object out of it, and blur it with a very small amount like one or two. S two, maybe 1.5. It depends on the model, because it's a smart object, you can always change it later. So that's the reason I do a smart object. I make the mask black, and now I go in with a brush and just unmask those areas here that I want to have smoothed. So let's just check this out on the shoes. So in here, I would say this one I would smooth. This floater I want smooth here, and those floaters I want smooth as well. Also, those floaters, the outer border, I want smooth, the inner border, I want sharp because that's where two materials meet and always when materials meets hard water at the end, can't really blend together. But this bab we want, not as harsh. Okay, where's the rest of our boot out here. So same here, we're going to go in and blur this out. Like this. Now we can also because it looks like it's a little bit small. Let's do two pixels. Cool. Now, if we save this one and reload it in marmoset, you can see that this bevel looks way better now. It doesn't look as sharp. It just looks like it would be modeled in. So that's something I want to do now for the whole mesh, basically. Everywhere we have one of those floaters. We want to do this. So let's just let's just go over the whole thing and do this. Not on him. There might be some instances where we already did it manually. Like in the modeling, where we don't need to redo this. But there are a lot of instances where we still have to do it like all around here. Also, let's make sure to save this file as a separate file so we don't overwrite the novels ix, for example, because we don't want to overwrite big file in case we have to repack something because what I just saw is that the cage on this file might not be accurate. So let's go back in, find this piece. Increase the offset and rebake the whole thing. Now what I can do is I can reopen this file, copy it to our fixed file, and also change it out in our smart object here, the same file. So now if we paint here, it's a mask is still useful, and we have the latest file in there. Et's see if there are any more. I hear a bunch of them on our pet, to have those nice and smooth. Okay. Same here. Same here. Fine. Et's save it. Let's load it into our shader here. Let's see if we can find something that needs fixing still. Let's see. See what went wrong here. That's what I thought. Hey, Let's bake it again. That was the wrong material assigned. Let's press Bake again. But we can always change out the files as we did before. Okay. This is nice. Oh, we forgot this big one. Okay so let's reopen normal map again, copy it into our bake file before. Also in here. And that's fine this file. So we have, from the get, I see one here that needs moving still, or that's the back of our pad. And we need the front of our checkit. Oh, it's this one, I guess what? It's same here. If we can't find it, we can always open. We can always open our our Maya file and take a look there, but that was it. On the belt, we still have some the holes in the belt that we could move out. We can always open our file and take a look in the UVs to find it. So it's on the right here. Let's do it like this. Okay. Okay, I would say I'm quite happy now with the result. You can always go in and find more if you find more. Another thing that we could bake now is, I didn't check the head out, but the hair came out pretty nice, I have to say. Not really anything to fix there as far as I can see. That's great. Okay, another thing we could bake now is the aminoclusion. It will take a bit longer, and we don't need in fouet. Just make sure ignore groups is not ticked. If you want to only bake the acids onto itself, if you want to bake all together, you can ignore groups. And then you can basically bake it. What I would do is either bake it in here with out ignoring groups, so each groups get baked onto each other and then bake a pile only on the low poly the substance, maybe if we have the full molind and bake it without groups. So either whatever you prefer in your whatever you prefer as your iminoclusion. I will not bake it right now. I will bake it inside substance at the end. Okay, but that's it for the baking. Let's move all of those files into substance and start texturing. 40. 38 Gradientmap: Before we move everything that we have right now to substance and start painting, I want to create a graded map. That's basically a map that has a ramp top to bottom. So the easiest way to create it is just let's duplicate our baking group. To make sure it's all separate meshes, because I know, for example, yeah this is one mesh, but at the end, I want the gradient from here to here from here to here. So this needs to be two meshes. So these is ways to combine it all, delete the history, and separate it all because now I can be sure that each mesh is a separate piece. Now what we want to do is we want to center the pivot in each mesh, and then with the absolute transforms up here, we want to align it exactly into the center. Now what we want to do I had the bake group selected as well. I don't want it to have the big groups select this duplicated Okay. Now what I want to do is I want to add a shader to this, so we can just use a Lambert with a ramp as a projection. Now I want to say fit to pea box, and that's it, basically. But one thing that we want to look out for now is assets that are rotated in the wrong way, basically. So this guy's perfectly right. It's exactly what we want top to bottom. But this guy, for example, as you can see, it's slightly rotated, so the ramp will be off. So what we want to do now is I want to go piece by piece and rotate them in a way that they are nicely top to bottom and not rotated. So we can hide this one. That's the ball. You can see, we can just rotate this. Slightly also, you guys rotate it like this. Say, This is okay. This is okay. Food is okay. This should. So that's just getting in here and rotating all the pieces. So that makes sense. This can take a while, but it's quite important because we're going to use this quite a lot. So yeah, just take your time, rotate them nice. And the majority of the assets should be fine anyway. It's just the ones on the arms, for example, exactly. Hm. Let's take this. Okay. Also, this don't need to be like science or anything. It's just a rough thing, but we want to make sure we look at everything. And on some things, you can just choose basically how you want to gradient. Like, there is no right or wrong, basically. Just make sure if you go top to bottom, then always try to go top to bottom and don't go to top to bottom, and then the next piece next to its bottom to top or something because that could look strange. That's basically all need to worry about. Mm. Okay. Just a couple of more pieces. Okay, so now that this is done, we can unhide them again. And now we want to do because as you can see, for this one, the gradient would fit, but this guy, for example, wouldn't get any gradient. It just looks like colour. So what we want to have at then is we want to scale this one up like this so it gets the whole gradient. So how can we do this? Easiest way is to put the lettuce on each and every piece and then just work with the lattices. So just go through all the assets and press now. So we get a lettuce on each and every piece. Oh, now that I see it before we want to do this is we have to we have to freeze our trans once again. So the lettuce is not rotated when we create it. So let's do it again, Lettuce and click through each and every piece. Okay. This can take a while as well. But yeah, this is basically the fastest way that we can do this. And we don't need a separate software because doing this inside substance, for example, would take ages as well because we need to paint it basically. So yeah. Okay. So now we want to isolate all those lattices. And the projection so we see how big it needs to be. Now let's go to the front. And let's select all of the top pieces. So everything on top of zero in the Y axis. So we have all the top points of the lettuce, and let's move them up. Nice. Same here. Scale it down, move it down. And now, if we look at it, as you can see, it all got stretched and scaled. So now everything has the full gradient on it. So we want to delete the history. We want to combine this whole mesh, delete the history as well, and we can call this one gradient mesh and gradient material. Now we want to open up our hypershade. We want to select the mesh and shift select the material. And if we go to edit, convert file texture to file to texture, we can convert this grade into a texture. So we want to say extend the edge color, so we have a bleeding and it. Want to have it in four K. Now if we press Convert, it will automatically do this and assign it to a new shader so we can already look at it inside Mile. Okay. So it's the grade M one. So let's reassign the old gradient though to this one so it doesn't get lost. And just to check it out, we can, um apply it to the meshes here. And as we can see, each and every piece now has a nice gradient. Okay. So let's take all those maps and move them into substance. 41. 39 Base Materials: Now that all the maps are done, we can start by setting up our substance file. Let's create a new file. Let's select our asset and let's, let's add those textures we baked to it. That's also, I forgot to choose the gradient map. Let's also choose the gradient map. And let's start. Okay, cool. Now, let's select base. As you can see, I moved I moved the detector a bit to the left, so it's not intersecting with the arm or it's not too close, as well to the body because I don't want to have intersections there. In the AO, also, I move this cup a bit to right so the O doesn't bleed or anything to the rest of the body. Okay, so let's rename this guy to body and let's let's plug our maps in. So this is the normal map. This is the ID map. Let's do the same to the hair. Let's call it hair, and let's plug them in. Now let's bake some maps. We want to not make the normal ID again because we already have it. What we want to ba is the world's best number, that's fine emclusion, that's fine curvature, position and thickness. That's fine. For the curvature, let's not have intersections on so we won't get curvatures where sets intersect. Okay, and then let's just make the maps. Okay, now that all maps are baked let's take a look at them. The AO looks really good. Also, the cavity looks really good. Okay, cool. So the maps done. What we want to do next is set up our base mask basically because we're going to work with mask on the whole texture process. In case you got my substance shatters from the marketplace, I'm basically rebuilding this one, the stylized material. So in case you have it, you can just use this smart material. But we're going to rebuild it from scratch. First thing we want is a base layer. Let's call this one base mask. And with this one, we want to fake point light. So what we're going to add to this one is a generator. And inside this generator, we're going to choose the mask editor. Now let's go to the base color mode, and we don't want curvage on this one, but we want the world's base numb. So as you can see, Torrey looks like we have a cop point light on this. So that's the first one. Then on top of this, we want another mask. It also just duplicate it. And on this one, we actually want the curvature. But just small the small parts. So we just want the very pointed ders basically. And we want to set this one to screen. So that as you can see, we just want to make we just want to make the highlights a bit brighter, basically. Okay. And then we want to have a third one, where we invert the mask. Let's put it normally so we see. So we invert mask and we are using the cavities now, and we want to basically fake some shadows in there. And we're going to set this one to multiply. Great. Let's maybe not choose 100%. Maybe let's go down to 50. Okay, cool. So that's our base mass, so we're going to add an encounter to this. Next thing we're going to need is our gradient. So we're going to go to our project assets and we're going to add this gradient map that we baked before. We're going to call this one. Right the end, and also we're going to add encounter this. Then we're going to add another player. This one we're going to call bark. Mask. Let's make it dark. And we're going to use this later. For colorizing, I just keep the masks down here so I can ank it upwards. So what we want to have is a paint layer in there, and on top of the paint layer, we want to have an ink again, and then we're going to do basically the same again. But this time, we're going to call it light mask. So make it white so we know it later. And we're going to add an anchor point to this. Okay, cool. So now let's select all of those four guys and put them in a group. Let's call this group masks. Okay, Now, on top of this mask layer, we're going to actually create our base layers. So let's start with another group. Let's call this one base. And inside this base layer, we're going to create a new folder, and now we're going to structure it by materials. So this one going to be fabric white, for example. Now inside this fabric, white, we want to have our first calia and we only want to alter the color with this one. So we're just going to choose the color. And as in color, we're going to choose our gradient now not our gradient, sorry, our base base mas car so the point light. And to recolor this point light, we're going to add filter onto this. We're going to choose the gradient filter now. So what the gradient filter allows us to do is to pick colors basically and put them onto this mask. So we can choose a color for black, for example. So whatever is black on this texture right now, we can recolor with this. So as you can see, we can just everything that's black is red now, and everything that's mid gray is green now, and everything that's white is blue now, for example. So that's what the gradient map allows us to do. We're not going to you can use as many colors as you want, basically, but we're just going to use two. So we just have black and white, basically, that we want to recolor. And what I basically do is I have the concept open on second screen, and I just pick into the concept. So I'm going to choose the brightest spot of the fabric and the darkest spot of the fabric. And that's basically for the start. Let's call this one. Base. Then we want to create a fila with only metal and rough, and we call this one metre Rough. And inside, we're going to look inside, we're going to take a look what we want to what we want to do. So this one is the fabric, so no metal and the roughness should be fairly rough, so like 0.5 or something. We can always change it later, but for now, it should be fine. And last but not least on top of this, we're going to put an HSL. What the HCL does is it allows us to shift colors, basically, as you can see. So we can just shift the colors. And what we want to do now with this one is we want to add our gradient map here as a mask. So we're going to add a black mask inside the black mask fill, and as a fill, we're going to choose our gradient. So now if we go in and change the color, basically, it only changes the it only changes the unmasked part. So let's say for this one, we're going to tint it a bit blue, can do it like this. Then we can also go in and change the opacity of this. So yeah, so we get a nice color variant and then gradient effect like this. And again, we can always go back and change this later. Now we just want to set everything up. Okay, cool. So that's our first material. Now we just need to continue and duplicate this one, rename it and mask things. So let's duplicate it, and let's go with fabric beige now. Again, we want to go in and pick the colors again from our concept. This metal rough should be fairly similar. Let's leave it like this. And let's worry about the gradients at a later stage. So we just want to set up the base color now and the mask. So we want to add a color selector here, and we want to pick we're going to pick wherever we want to need this. So in this case, we didn't degrantiate it, so we want to pick this white one. But if we look at the mask, we actually just need it on the pens and on the and on the arms here. So on top of this color selector, we're going to add a Pentla. We're going to press four and choose the color black in the film of the UV film mode, and we're just going to select the UVs where we don't want this color to be on. So basically what's not fabric white. So we're just going to go over all of this and deselect those guys. So that's our fabric beige now. Good. Again, let's duplicate this layer. Next one is going to be fabric red. Again, let's go into the gradient and let's just pick pick our colors here. Let's add color selector here again. Let's pick the color. Again, that's on top, put the paint layer, and let's select the parts that should not be there. So, those guys we don't need on fabric. Those guys we don't know the fabric, the gloves I want to make the gloves I want to make leather at the end, so I don't need them. Those guys can be fabric. This guy should be leather, as well, I guess, this is all metal and leather. On the bag, let's do metal as well. Leather as well, sorry. And those guys should be leather as well. Cool. Let's duplicate it again. Let's go for it. Later now, so later. Brown. Let's start with, let's just do the red one while we're here. Let's just go in delete this one and a new pink lair. Now, we want to delete these things that we had before, so we don't want it on top. We don't want it that one. We don't need it on those guys, as well. But now we want to have now we want to have those guys. We want to have those two guys, and we want to have the gloves. We don't want those guys, and we don't want those guys. We don't want this guy, but we want this guy. Okay. Looks good. Let's do a duplicate. And let's call this one brown. Again, let's go in and pick some colors of the concept. Let's delete those two guys. And let's color selector again. Ms click. Just the bag. As you can see, we got this little bleeding now. What we can do about this is change the tolerance and also change the hardness. So we're going to change this a bit. And we can also go back to the leather red here and change that as well a bit. But as you can see, you need to be careful because other things will be colored as well, then if this color is too close to the other colors, so let's do it like this. The let's see. For here. Another way we can do this is let's move the leather red on top of this. And let's let's No, let's not do this pick, but let's add a paint layer. And let's add those pieces to the brown as well. Oh, let's just paint it in. Let's just see how this looks now. Yeah. So because it's underneath, then it's going to lead over it nicely. Looks like miss clicked here. I'm going to do the same here. Click Okay. So that's leather brown. Then let's continue with the black leather. Black. Again, let's choose the colors. And let's edit the masks. Okay. So that's that guy. Let's take a look. Yeah. That should be fine. We don't want the eyelashes there. So let's select them eyelashes. But the rest should be fine, I think, let's see. Okay, those guys, those guys should be plastic for sure and those guys as well. Yeah, let's also use plastic for this guy. Yeah, let's use plastic for those guys. This guy could be leather. This guys will. This guy, maybe not. This guy can be leather. And here we want to have plastic, I guess. Okay. Again, we can go into the brown leather and paint underneath. Fantastic. Okay. So that's leather. Black. Next one we want to have is, let's start with plastic white, for example. Big white. So again, we're going to pick some colors. This is mainly going to be the pet on top, so let's the colors from there. And let's not the height selector, the color selector. And let's pick the white. Let's take a look now at the masks. Yeah, we don't actually want. We don't actually want those guys here. Let me see. Nothing from here, I guess. We can have the top cup here. You can also add the pad. That's great. And yeah, the whole piece on top of here. Yes, we can have them. Let's maybe, let's not go with those guys. Those guys can be fabric. But the rest should be fine. Okay, cool. So that's plastic white. Then on top, we can do plastic lack now. So let's duplicate this again. Plastic. Let's go in again. Choose some colors. Again, we can always change those colors later, so it's by no means final now. Cutler said, choose this black here. And we want to take a look at it with a paint layer. We don't want to have those guys that we decided to be later before. To guys should be all later, we said. Also, this guy this guy's leather. Those guys we need plastic black, not the eyelashes, not this guy. The majority of the pet, it's fine. Those guys as well. Those guys as well. Yep. This looks fine. So that's our plastic black. Then we're going to add, let's see, plastic red, I guess. So let's just duplicate the red and keep the color for now. Plastic. All right. Now we want to have all the plastic pieces. Let's take a look, paint. And that's sit so we don't want this one because we want to have metal for this one. We can have those guys. We don't need those guys, don't need those guys. Do need those guys. Those two. Don't need this, don't need this, don't need those guys. We can have those two guys. We can have those guys, those guys. Yep, that's about it. Okay, then let's start with the metal pieces. So we're going to do metal black for now. Let's start with this one. Let's put a color sedectont this, and let's choose some metal. Okay. Again, let's change the gradient first so we can see what we're doing. Okay. We're gonna let's take a look at the paint layer again. And these selected pieces we don't need. We have this strange fringe in here so we can just delete those guys. We don't actually need this. Okay. The rest looks kind of fine, I would say. Maybe maybe not that guys. Maybe we should have those guys plastic, as well, like those guys. Let's see. But the rest looks fine, I would say. So let's go to the plastic black hoor and add those guys. Oop. This guys? Maybe also this. Okay. Then the last thing that's missing. Oh, no, not the last thing, two more things are missing. So another red, now metal red though. And let's also, while we're here, change the metalness from this to metal so we can actually see the difference. Yeah. So we need another red one, but now metal red. Oop. What's in here on top of that. Metal, red. And now what we actually need is the staff, basically. Yeah, that's it. Just the stuff, I think. Let's see. Yeah, I think it's, it's just the stuff. We can keep those two guys metal. Yeah, let's keep those two guys metal, as well. And the staff. And yeah, that's basically. Cool. So let's also go in here and change the middle s to middle. Nice. And last but not least, we want to add the face, basically, so we're going to call skin, face and arms. Now also for now, we can choose the colors. Let's add color selector again. And let's pick this color. This looks great. We have this fringing, so let's get rid of those guys with the pink layer again. Exactly. Okay, cool. But what we want to do now is we want to also add all the facial features, so we want to also add those guys in fact. No. Those guys in fact. Those two. And we just want to do the recoloring inside the group, basically. But we want to have everything that's skin or parts of the skin in there. And that's basically it for the base setup. What we want to do now is go in step by step for each material, yeah, and change it up and yeah, basically finish the base and the texture of everything. And then we're going to add another top layer on top, where we add scratches and everything. 42. 40 Applying Gradients: Now we want to go over all the groups again and we want to change two layers now. First of all, we want to change the metal and rough layer, and we want to change the gradient layer on all of those groups. Let's start with the very first one, which is the fabric white. So let's click on the metal rough first. Looks pretty solid already. We don't want it too gloss. We don't want it too rough. So 0.5 around 0.5 seems to be right. Now let's click on the gradient one. Let's check out the gradient. Also the gradient seems good. Light blue tin from the top looks tricol. So let's also keep this one. Let's continue with the fabric bash. Again, let's click into the metal rough one first, and let's see. I would say let's switch it up a bit. Let's maybe make it a little more rough, and we don't need metal ends, of course. Let's go into our gradients again. Let's see. This one we could instead of making it blue, we could go for a different color. What if we go for some reddish tone like this? Let's see if we pump up the opacity a bit. Let's take the saturation down a bit. Maybe let's take the lights down a bit. Let's see if we This could look cool, huh? We still too saturated. Good. Let's continue with the fabric red. So that moon, for example, I would say, let's make this one a bit more glossy. So we have a nice contrast between those fabrics. So a bit more glossy. Okay. And for the gradient, let's see. I do like this blue tint. Let's see. Maybe we can go for some violet. Maybe less opacity, so let's turn this down a bit. But this does look cool. Okay, cool. Next one, leather brown. Let's go for the metalness first again. Here, I would say, I would go for more glossy because it is leather. So something like this. And on the HSL, for the gradient, I would say, let's go let's go for something. Let's see. Let's try some stuff. What if we just go for more saturated and a light maybe yellow tint? And I would also like to have the gradient from the bottom. So what we need to do is go into our gradient, add the levers on top and invert it. And we can also change the gradient here a bit, so it's not all the way to it's just the bottom. Let's see. Maybe lessoPark That's true. The whole thing. Yeah, it does look good. Now let's go for the latter red. On those gloves, again, I would again say, let's make them more glossy than the fabric. Let's also just copy the gradient from the other the other red we had. But now I would say, let's let's invert it, first of all. Again, another level the invert and we clamp it again. So we just have tips. Exactly. And I would say maybe not as bright as opaque. Let's turn this down a bit. Not a slight gradient. This looks good. A bit more maybe. Okay, good. Next one, leather black. Again, metal rough first. So we can make this more rough, so we have a nice difference between this glossy piece and this rough piece then. So we're going to make it a little bit more rough. And for the HSL, we're going to try to maybe add some see add some violet. But as we can see, it's not doing anything because it's just black. So what we can do is change the mode from perspective to regular, and now we can start introducing colour again. Maybe some bluish tint on this one. It does look cool, maybe not as much. Okay, cool. Let's look good. Let's continue with the plastic white metal rough first. So that's those guys mainly. So let's say on this way more glossy. Let's see. Yeah, something like this, maybe. And for the gradient, we want to go for some blue tone, I would say. Let's see if we pump this up. Yeah, exactly. So I want some blue tone, but maybe we want it from the bottom, so I would say let's add the levels again and then invert then again, let's kemp this a bit. Okay. Now let's go in again. Let's search for a nice blue tone. Let's decrease the saturation a bit. To opaque right now, so let's turn the opacity down a bit. Okay, that's the colo. Okay. Next one, plastic black. Let's see. So those guys. Again, I would say, let's make them more glossy. Cool. Then let's add a gradient again and regular again so we can actually change the color. Let's see. Maybe something like this. Let's maybe also invert the gradient here. Okay. Maybe that's too much. So let's turn down the saturation a bit. Okay, does look good like this, though. Let's go into the plastic red. That's the cup, for example. Let's see how rough we want this one. Yeah, I would say, not as glossy as the white one, so we have a difference again, something like this could work. Okay. And for the gradient, ah, this already looks cool. I would just again like to invert the gradient here. And turn down the opacity a bit. Okay. Again, let's turn it down remar. Here. This looks cool. Okay, nice. Next one, a metal black. So that's the guy at the back, for example. I really did like how rough it was. Not super glossy, but not super rough, like something in the middle. Okay. And then let's add a gradient here, as well on regular. Blue is always good for metal because it makes them feel less like it makes them feel cold, so more metish. So let's also clip this. Okay. That's look good. Let's turn down the opacity a bit. See. You cool. Maybe a bit more. Okay, that's look coola. Now, the only piece missing is the metal red. Again, looking at the metal and roughness, we don't want it super rough. We don't want it superglossy. More rough than more glossy, I would say, so it's again, not the same as this metal. So this looks fine. And for the gradient, yeah, we want something bluish or violet, something like this. So let's see. Okay. Okay, does look good. The skin, we will not touch it. It will be a separate pass. But it does look cool. A thing that I just noticed is this guy, I would like to have him in the in plastic black. So let's remove him from metal black and let's add him to plastic black. As you can see, super easy to do. So you can always do it on the fly. And I also would like to add this guy to plastic black instead of metal black. Oh, I did for hohing just this guy. Stick clean. Okay, cool. Oh, and all that guy. I just saw it. This guy should be black, as well. So let's paint onto this one. Easiest ways just to hide top layer. Let's paint on top of it, so we're sure it has the color underneath. Then we're gonna go into the metal red layer. We can select the Do is like this, for example, Oop, and click. And then we're just going to use our paintbrush, click again and paint around it. Easy is that? This is always a good thing if your ID maps don't match or if you want to change things on the fly, go for it. You don't need to go back and change the ID maps. Okay, cool. Okay, so in the next video, we will go over the face and thee. 43. 41 Face Texturing: Now let's start working on the face. The first thing I always do is I introduce three different colors to the face. Through that, I always create a folder, and let's call this colorize. And inside, you want to create a blue layer, a red layer, and a yellow layer. Each of those layers, you want to have a black mask with a pint layer. And of course, we want to choose some colors now. So this is blue. This is red, and this one is yellow. Now because our face is mirrored, we want to work with symmetry on. A way that we can do this is going to, I have to go into a paler in our symmetry options here. And now we can move the symmetry with this slider. So as you can see, we can with the slider alone, not 100% matched, so we want to put in our numbers here. So let's see. Oop. 245, maybe. It's too much. To 44? Yeah, this one works. This one works for. So now what we want to do is introduce some color. The blue, we want to add at the bottom of our face at the in the chin portion here. Just like just like this. Now that this is painted in, we want to add a blur onto this mask, so add filter blur. And this blur can be quite big because we really want to blend it with our texture. Something like this. Then we want to add the red mask on, like, the main portion of our face. So around here, we want to add some red. We want to make sure to cover the nose. Something like this. And we're gonna copy this blur on top of the red as well. And then with the yellow, we want to work on top of our face. So right around here. And again, let's copy the blur. Now let's set this whole layer to I don't know, 20% or something. Not just the yellow. Sorry, the whole group. I want to set to something like a 20%, 19, 20%. Now, let's reduce even more, so we want to reduce the yellow even more, and also the blue, we want to reduce even more. But as you can see now, because of those three layers, the whole face gets some more color. And because we know that like at the chin portions not as much blood as in the cheeks, this already helps a lot. Okay, so those are the first colorization layer. Now the next thing we want to do is we want to introduce some like the red portions of our face, I would say, like the lips and the cheeks, stuff like this. So again, on top, we want to create a folder. Let's call this one red now. And now let's add one folder in there for the lips. Color only again, and we want to have some dark red tone, again, black mask with a paint layer. And we want to start, we want to start painting in those lips. So nothing super fancy here. Okay. Again, let's add a blur on top of this. Not as big as the last blur, of course. Just a minor blur. Okay. Then let's change the whole mode to overlay and let's turn down the opacity of this one. So it's just a minor color change. Okay, cool. Let's duplicate this layer now. Let's call this one cheeks now. Let's get rid of the paint layer, and let's put in a new paint layer. And now we want to now we want to basically paint in those cheeks. We want to go in here, bigger brush with a soft brush. So let's choose the standard soft brush, and let's paint in those cheeks here. Okay, let's leave it like this for now. And then we also want to paint in the bottom of the nose. Okay. Okay. Now we want to search for the blur brush, and we want to really blur blur this one out. Yes, we went too far on the bottom, so we want to Okay, let's go back before we blood it. Let's kill it right here. Let's go with the blood again. And that's better. This looks cool. Nice. Again, let's change the two. Oh, it is an overlay already, and let's change the opacity again. We just have it very, very soft. For the nose, we of course also want to add a blur like this. Okay, looks cool. Now, let's continue with the eyebrows, for example. So again, let's close all of this down. Let's create a new layer in a new group. Let's call this one. Eye. Inside, we want to have. Let's go for black for now, black layer, black mask, and the paint layer again. And now let's try to recreate those nice eyebrows that we had. A we don't want to have them too curved. Let's see. Maybe a tiny bit too long. Yeah, this looks good for now. We can always change later. So let's call this one base. We want to change the color from full black to something. Not full black. Okay. And we also want to introduce some different roughness to this. No, the metal roughly needs to be lower, of course. Let's make it a bit more glossy. Yes. Now what we can do is put an ink on this one. Let's call the anchor. Browse base. Now, on top of this, we want to add some height. And if we would just add a height here, as you can see, it just adds this step, but we don't want the step. So what we want to do is we want to create a new layer with only height. We canna call this browse H so we know what's going on. We want to add a black mask again. We want to add a fill and the anchor. Space. And now, if we add the height here, we can go in and change this we can change this fill after the fact. So what we want to do is we want to add a filter on top, and we want to choose the Bevel filter. So as you can see, we get this point now here. So we want to smooth this point out. So it's nice and round Again, what you can see if you change this too much, we're breaking it. So we don't want to break it. We just want to smooth the tip out a bit like this. But now what you can see that it's going over the eyebrow, and to get rid of this, we want to add a fill again with our eyebrow mask, and we want to set this to multiplier, so it cuts off everything outside of this mask. Okay, now we can go back in, change the height to 0.1, maybe or something. Okay, great. So we can keep it like this now. Another thing that we can do with this base layer, we're going to create the paint layer on top of the anchor so it doesn't get anchored. And we're gonna add the eelsh to this one. What kind? Looks good. Another thing we want to add to the eyes is some eye shadow. So one thing that we can do is just create one of those red groups again, layers again, sorry. And instead of instead of the painting around the cheek, we're going to this one, we're going to just paint in the eyeshadow here right around the eyes here. Don't go too big, like me just now too much. But we want to have nice nice and broad. I shadows here. Okay, cool. I think the color could be more red. Again, we can use the Oop. The blur brush here to blur it out a bit. And it's also removed some of it. It's too much right now. Hey, let's go in with the bloodbush again. Let's blur it out a bit. And let's take a look. Maybe more pact here on this one. But that's basically it, I would say. I let's refine it a bit more. But okay, let's leave it like this for now. So that's our red tone here. Good stuff. Now, let's talk about the eyes themselves. Let's start off with a white layer. So we're just going to create a white layer here. We go to call this eye Base. Again, just the color for now and we're going to go for full white with black paint layer, and we want to choose the eye itself. We also want to get the roughness in, I guess for now. So, let's not go for full blight, but let's add some roughness, which should be pretty pretty glossy. Okay. Then on top of this one, we want to add the iris itself. So let's just duplicate this one. Let's call it iris. And let's go for some in this case, like some brown tone. We want to delete this paint layer, add a new one, and we want to paint in our eye. What you have to be careful about is, you should not just paint in it like this. What you always want to do is you want to cut it on the bottom and cut it on top, and you want to cut it more on top than on bottom. So it looks good. So something like this, maybe. Yeah, we want to get rid of. We're going to get rid of the bottom and top by getting those two guys in the group. Calling it I, adding a black mask on top with a paint and choosing just the e. Okay. So that's our iris. Now, on top of the iris, we want to add some grad and inside. So a good way to do this is to anchor the iris. And creating a black mask on top with, again, black mask. And we want to fill it with the iris now? Fill fill. Not filter. Let fill at the iris. And now we want to again, what we did before with a Bble we want to use a beble now to get an like an inner gradient here. So we want to add a beble again. We want to change that beb Oop. So it has this inside glow. With a smooth again, so a nice intagl now we want to add the labels and invert this fin. And again, add the filer with the iris on top and before we want to multiply it to delete what's around it. So if we look at it now, we have this nice dark inside here. We're going to call this iris dark. Now on top of this, we want to add the pupil itself. So let's just duplicate this layer. Let's delete what's inside here and let's add a paint, and let's just put in the pupil right at the center. Like this. Et's see. Okay. Nothing fancy so far. A thing that we want to do is again anchor. Oh, no, we don't want to call it Irish duck. We want to call this pup pill. We want to add anchor on top of this. Now, on top, we want to create a white layer, let's just take this one for now, and we want to fill it again with the pupil. And again, we want to do basically the same that we did to the Iris. We want to add the babel on top. But now we want to blow it outside. Like this Exactly. We want to add the pupil on top again as a cutout, and we want to change it to multipi but flipping it beforehand. So we cut out the inside and have a white outline around it. We're going to set this whole thing to overlay let's see. Yeah, we have this nice white inside before the iris touches the pupil, basically. Now, the only thing missing is the graden around the whole thing. So what we want to add is a get rid of all of this. We want to add a black mask, which is going to call it AO. Can get rid of the things inside. We're going to add a generator, the mask editor. Let's look inside the mask editor. We don't want the curvature, we want the occlusion. So we set it to normal. We also want to invert it, so we have this one, and we want to blur it like this. So let's see now. Yeah, that's exactly what we want. Again, maybe not 100%. Maybe let's turn it down a bit. Okay, cool. So we can leave the eye like this one now. The only thing that we should do is go back into the base and let's make it more glossy. And make sure to turn off the roughness inside those layers. Okay, cool. So let's make it more glossier. Okay, cool. So that's the ice. Another thing that we can do with our face to give it more detail is adding like a fractis mask. That's pretty easy. We're just going to add a red layer again so we can do it in our Reddish? In our red layer. So another one. Reclose We want to delete those guys again. We want to add a paint layer. Let's put it on 100% so we see what we're doing. Yeah, we just want to add some freckles around here. Best way to do it is turning off the symmetry because we don't want it symmetrically. And just, put some freckles in here around the nose, make it different size variations as well. Okay. Maybe that's a bit much, but we will see. Then let's turn down the opacity of this one. Let's also add a blur. Let's see if we can steal on. Yeah. Let's take this blur. Too much, of course, so let's turn it down. Okay. Let's also not choose a super dark red. Let's go for some right the red. And now let's go in with a bigger paintbrush. And let's get rid of some web painting it like this. So but So yeah, so it looks more like freckles. He looks cool though. Okay, cool. So yeah, if we look at the face right now, it looks pretty cool already. So I would say let's keep the face like this now, and let's quickly add in the hair, which will be very straightforward. What we want to do for the hair is we basically want to do the same as we did for the other for the rest of the body. So let's copy the mass clair. Let's go to our hair. And let's just paste it in here. So control C control instead of the gradient, if we look at the gradient, instead of the gradient, we want to add a gradient inside substance. So we just got to add a gradient map here. Yeah, one of those. Instead of UV, we're going to say planar projection. And now we just want to move this projection into the right space by scaling it and moving it. So let's see we want it. Top to bottom, front to back, basically, something like something like this Okay, so that's our gradient. Rest is fine. And now instead of redoing everything, we're gonna go to the body again. And we're going to copy, for example, the plastic black lair because we don't have black hair. So plastic black. Let's put it on top of the hair. Okay. Let's get rid of those two guys. And then let's also copy the top layer from our body. Oh, we didn't create that yet. Okay, so we don't need to worry about it just yet. Okay, then the other thing that we want to do is make sure that those masks are linked properly. So this one goes in here. The gradient fill goes in gradient. Good stuff. Now, if we look at delete. We're going to remove the mask. Now, if you look at it, it should already. Yeah, I should look cool. That's pretty good already. Some things you might want to change is the roughness. Maybe we want it more or less rough. I would say, let's go for a bit more closely for now. Oop. But let's, let's just leave it like this one now, so we have it in there, and now we just need to go forward and yeah, add some details onto the whole mesh and also add our, like, final touch up layer on top of everything. 44. 42 Final Texturing: Let's continue with the texture. One major thing that we are missing is our top layer, where we add details to the whole model and not just sections to it. So let's start by creating a group on top of all of this. We can call it, for example, inside, we want to create a filler, where we only use metal color and rough, we want to have it full white in the color, and we want to have it full black in the roughness. So it's superglossy. Now we want to add a black mask to it. We want to add a generator to it, and we want to get the mask editor. What we want to do with this one is we want to brighten up the highlights, basically. So we're going to use curvature. We're going to set it to edges, and we're going to get rid of the big ones. We just have the small fine, the small highlights, basically. Si, let's call this. Highlights, Highlights. Color wise, if we check the base color, it's way too much already. So if we pull this down to, let's say, like eight maybe or something or ten, this should be more than fine already. If we check the difference. Yeah, maybe it's even too much. Let's put it down to six maybe. Okay, cool. And in the roughness, if we change the roughness, we can pull this down to, let's see, maybe 20, 30, something like this. So if we go into the roughness channel, you can see just adds a slight Slide black outline into everything. Okay, cool. The next thing we want to add is basically the opposite. We want to add cavities, so let's just duplicate this layout. Let's make it black in the base color and white in the roughness. Let's call it. CVT. Let's go into the mask. And now let's check out our curvature again. Now we want to do basically opposite, right, so we want to just change it to cavity. We want to maybe bring back some of those soft soft cavities. But not too much, I would say. Because we're going to add an AO anyway, so we just want to have those lines. If we look at the base cutter now. See can we go back to the Well, let's check out the roughness first, but, roughness looks fine with 30. Let's go to base cutter. Let's see. Oh, yeah, we have to pump this up quite a bit. Maybe 20. Maybe even more than 20 to 30. Your 30 looks fine. Next thing we want to do is an AO. So again, layer filer, let's call it AO, color rough again. For the color, I would say, let's choose something brownish and roughness full white again. Then again, we want to add a black mask with a generator. We want to choose the mask again. And now instead of curvature, we're going to use Emlecluson and we want to set it to normal and invert it. Okay. Now on top of this AO, because now it's very smooth and everything, we can break it up by introducing a texture. So if we add a filer, for example, and we choose some branch map, let's see, something like this, maybe. Let's change it to triplanar. Let's bump up the tiling a bit like this. Now if we set this one to overlay, you can already see it breaks up the whole thing. Now if we turn down the opacity a bit, and maybe the tiling as well a bit. You can see it breaks up the whole am cclusion. Okay. So let's see how opaque unit is, maybe again, like 20, 30%, something along those lines. S. Yeah, this should be enough. And the same again for the roughness, 30% should be fine. Yeah, it should be fine. Now, another thing that I like to do is I'd like to because if you take a look at the roughness, now it looks very flat, right? So what I like to do is introduce a overall breakup. And the way I do it is I use fingerprints. So let's add another fi layer, and now let's add this fingerprint layer to it. Add the fingerprints texture to it. Let's also call this fingerprints. Now, if you change the blend mode to overlay and then the opacity like to 2030 again, you can see it just adds this slight breakup. We can actually see pretty well on metals, for example, you see, it breaks the metal up a bit. I just adds this noisy pattern on everything. Just in roughness. The next thing we want to do is add those two masks that we anchored before in here, the bright and the dark mask. Through that, we're going to create a fill again. Pull this one darker. We're going to make it darker. Like this. So rougher and darker. Again, we want to change the texture. Basically what we did to the highlights. So to the cavities, we want to make it like 30% rough. We want to make it only a bit visible or like 20% visible. We want to add a black mask again. Inside this black mask, we want to add filer now, and inside this filer, we want to add the darker mask anchor point. So if we go to a darker mask now and we start painting in here, you will see it gets um moved up to this mask. So let's, for example, paint out this element here. So that's something I normally do, paint out elements or fill in elements that have the same material than the underlying material, so we can differentiate a bit and add some more interest. So let's just fill in this element now. We could have also already done this in the ID map process, but normally, when I do the ID map, I just focus on different materials and not change within one material. So I normally do this in this stage. Okay. Let's do this fairly quickly. Okay. And as you can see, it already adds some difference between those elements. You can do the same on the other side. We can do the same on top of this guy. Basically, everywhere where we feel like it's too often the same material on top of each other or next to each other, and we just want to break up the overall look or the overall, the overall color of everything. Okay. So that's something I do with the daka mask. Another thing that I do with this daka mask is so let's rename this paint, for example, to flat surfaces or just surfaces. And then on top, we can create a new paint and call this one dirt, for example. Now we can start introducing dirt. What I normally do is take one of those textures that I like, like I know, paintbrush, for example, and then I can just go in and, for example, add a dirt splotchy, like this. Then I just go in and clean those materials where I don't want to have it, maybe add a little fade to it. And we have our dirt blotch. That's something I normally do to the whole model like Oop. I find elements where I would like to add some dirt. Here, for example, then we're going to clean it up. Will be sewn up like this. Okay. Exactly. So that's what I normally do. Do those two passes with the dark one. With the bright one, we're going to do something very similar. We can I acids overlay and you feel like one should be brighter than the other one, let's say we want this one to be brighter, we can just go in. Exactly, and brighten this thing up. Looks like it's not actually doing anything. Let's check out why. Oh, I didn't say it up yet. Makes sense. Okay, let's just duplicate this one. Let's call it. Right vana. We're going to do the complete opposite, so we're going to go for white and reflective. You can also change this around if it doesn't fit your mold, by the way. And inside the fill, we're going to pick the right mask. Like with the highlights, we need to tone down the opacit in the color way very much. And then we want to start painting again. So as I can see, we can introduce brighter elements like this. Maybe this doesn't look as good. Let's get rid of this work. We do it. Let's see. What about this guy here? Yeah, I just brighten the sleeve up a bit, as you can see. It's not a whole lot, but it's enough to make a difference here. So that's what we can do. And again, go surface. Again, let's add a paint layer. Let's call it dirt. And now we can start introducing dirt botches again, but not as we did before. Here, I wouldn't use those alphas. What I would do here is just use the paintbrush, and we want to introduce manual cavities edge lines, basically. So something along those lines. It's getting a bit thin here. So just using very straight lines. S again. Very straight lines here. Like this Taxi. To fake this manual, stylized breakup finish. So some chipping or weathering or whatever you want to call it. Okay. Let's cut this. S. Yep, exactly. So those are the two things I would do with this bright bright, um layer. Let's the one more here. Then let's continue with the rest. Exactly. Okay, cool. So those are the layers, right? And on top of all of those, we want to get two more layers in. First of all, we want to get an HSL, so just put the HSL in here. Let's find it with it. Click HSL. We want to drag and drop it in here. And all we want to do is pump up the brightness of all of it. So if you see, just pump up the brightness, but not by that much, 0.55 or 0.6, something like this. Just so everything gets a bit more saturated. I was do this at the end, and then on top of this, I'm going to add a sharpen. Exactly. Again, it's too much if we keep it to one. So it's just 0.5 maybe or point. It's too much, let's see. 0.50 0.3 something like this. Maybe it's even too much. That's 2.3. Yeah, that's better. So just a sharp, sharp mod details, basically. And that's basically it for the texturing. So what I would do now, I will go over offscreen, add more of those brightness and darkness breakups. I will check again all the material ones if I missed something. And that's about it. What you can do if you want to improve it more, for example, is a surface, noise or surface height details. The way to do this is let's go to our fabric, for example, and let's say we introduce some height variation on our fabric. Let's create a layer underneath. Let's call it height. We just need the height. We're going to add black uskgan. Let's add a fill, and now let's just choose fabric. Substance comes with a lot of fabrics already, but you can add your own as well. Like, those guys, for example, I created some time ago. Now, as you can see, we see nothing because we don't have a height set yet, so let's just pump up this height a bit so we can see what we're working with. Now let's change this to triplanar, and let's just like pump it all the way up until we have a size that we feel like could fit our asset. So yeah, let's just keep it like this for now. Yeah, this would fit, actually. The height, I guess, is way too much right now. It's just very subtle. So 125, very subtle height difference. But as you can see now, it's on everything, even though it's inside this layer, this group, it's on all the other groups as well. A way to fix this is changing the height in all the other folders. So what I always do is I go through this metapla enable height, but don't change anything. So you look for the If you look for the height map that's how it looked before. Now I enable the height on this one. Now it's actually filled with something. But as you can see, it still doesn't work, right? So let's go to our fabric now, the fabric base, which would be this one. Let's change. Let's put some height in there as well, and it still doesn't change anything. The reason for this is that if we go to our height layers, you can see the group itself is set to add to linear Dodge Ed, which doesn't work for the height if you want to do the setup, so you want to change it to normal. The whole group, let's go. Normal. As soon as you change to normal, we can see it doesn't affect this group anymore. So what we want to do now is we want to go into every group set the height to zero here and change it to change the whole layer to normal. Okay. So height and normal. Let's do this very quickly. A Exactly. So that's basically what you can do now. Add those details on the different materials, add brighter and darker color variations and yeah, finalize the whole model like this. As I said, I will do this off screen now, and I will get back to you as soon as I'm done with the text. 45. 43 Posing: While we are still texturing, we can already start preparing the rig to see the texture in the final pose and in the final render at the end. The easiest way to get our pose and our rig done is to use a website called Mixamo. And let me show you how we could get our model in there and how to animate it. We're going to start off by choosing the parts of the model that we actually want to be rigged with Mixamo because it's a very basic rigging tool, so it wouldn't allow us to add, for example, this metal detector or the PET and give us a nice result. So we just want to choose parts now that are easy for them to rig, and the rest we're going to do manually. So let's hide what we don't need. We don't need the PET. We don't need the metal detector. We don't need this whole thing here, we could keep the headphones. So let's hide those guys. We don't need those guys. Okay. The bag we don't really need, the cup we don't really need. And those guys we can place manually as well. So let's help those guys as well. Okay. So that's basically the model that we want to rig now. So let's select it. Let's press on Export, and let's just export as an FX. I'm going to call it rigging so I know what's going on. Okay. Now let's open Mixamo. And then let's just drag and drop our FBX in here. So this takes a while. Okay, now, it's pretty easy, so we can orient it in case it's rotated or anything, but it looks fine for us. Now we need to set those points. The first one goes to the chin. Those go to the wrists. Those go to the elbows. Those go to the knees and this one goes to the groin, and we're going to keep symmetry on because it is symmetrically. We're just going to use the standard skeleton, and we press next. So now the website rigs our model basically. And as soon as this is done, we are able to choose all kinds of different animation the website Heirs. We can download the animated file. We can place it in Maya and still continue to animate. So this is going to help us a lot, getting the post down that we want from our concert. So as you can see, I already kind of works. As we can see, it has some issues, especially like the chin area right now. So it's not perfect, but it is a start, so it's press next. Next. Okay, and we should be able to see here exactly. Now what we can do is just choose different animations, scroll for them. And now we want to find one that's similar to what we need. I already looked for them, and there are some idle animations. For example, this one. Let's see. Standing idol sounds good, yeah. Let's go with the standing l one. Let's use this character arm spacer to get the arms further away from the character. Exactly. And we don't need all of these frames here, so we're just going to trim it down. We just need one frame, basically. Okay. Also, we want to mirror it in this case, because in our concept, she has the left leg for it and the right one back. Let's see if there's some bit of frame, maybe. But they're all pretty much the same. Okay, so what we want to do now is we just want to download this file. Okay, now that I don't know it, I placed it into our Miocene, and now it looks like this. So what we can do now is, for example, use our reference camera again to place all the bones in the correct position, or we can just go in manually and rotate them how we think we want them to be rotated. So let's just selt his arm, for example, in the object rotation, we can just go in and start manipulating our character. This is a very easy process, I would say. Let me just show you arrows you can encounter and how to fix them. So let's say she has the cup in here, right? But we want her, for example, to look down here if you look at the riff. Yeah, we want her to face this direction and downwards. So but as you can see, the chin is not properly rigged to the face, so it's like um, all scushed. So how can we fix this? Easiest way to fix this is to press on a model, go to the rigging tab inside skinning to paint skin weights. Let's double click this tope made up. And now we need to find the face or the heads boone which is this one, as you can see, those parts are black, meaning though we are not bound to the face bone. So what we need to do is we're going to go in and just replace so we can either add value to the current pulley, or we can just straight up replace the value with one, which we want to do in this case, because the chin should be completely part of the of the headbone. So what we can do is just go in and paint in this area. Now, as you can see, it's kind of wonky, so you can use shift to smooth out this painting. Same on the back, this shouldn't be at the head. Maybe we should rather add it to the spine, for example. So let's try this. Let's just paint it in a bit, smooth it out a bit. Okay. So that's just a back and forth. Then, for example, the neck should be here somewhere, but not in here, so we're going to remove it here. Going to add a smaller value painted in here. Smooth it out again. Exactly. So that's one way of fixing our rigging of our skinning if it's completely broken. Another thing that you will see a lot is stuff like this where it's not completely broken, but it's kind of wonky. One way to do this is just selecting the words around here and going to the Hammer skin weight tool. And as you can see, it tries to smooth out the area so it's not stretched anymore. As you can see, can do this. All of those guys that are stretched. Let's see. And most of the time, it actually gives you a really good result. Just don't go too far with it. Don't select too many polygons, but as you can see right now, and you have to keep in mind, we don't want a fully animated model. We just want to have one post where we can do a nice render. So it just needs to look good in this one post. Okay, so let's say, we're happy right now with this. Let's add the rest of our assets. So, for example, the PET, the staff, the bag, we're going to duplicate them. We're gonna duplicate all of those headphones, but we're going to get rid of those guys we have already on the model, which are those. Let's show this now. Yeah. And let's continue. So the bag, for example, we just want to make sure it's nice position here, so we just move it into position, rotate it, make sure it's aligned with the belt here. And we're just going to move it into place. Actually, this is too far up, so let's here again, hoop rotate it into position. Okay, cool. Next guy is maybe, this headphone piece, so we just want to make sure. Oh, now the things they were Where were those metal pieces? Let's see. Looks like we lost them along the way. Let's see. A part of the chest, of course, yeah. So we want to duplicate all those chest pieces as well. Okay. Now, let's unhide them. Exactly. Let's get this one back, and let's maybe move those guys into the headphones. Not those guys, I would say. Then let's just as with the bag, let's just try to get this nice and positioned like this, exactly. Exactly. And for the wire, we can just work with a soft selection, a big one and just try to get it into place. It won't really change anything on our normal map anyway because it's just a long tube, so there won't be any details that are missing now a squashed. We're just going to have a nice shape at the end. Okay, looks cooler. Same thing with the metal detector and the cup. Cup is still missing. Let's see where we have it. I hide it. So we duplicate the cup as well. So again, we can check either, move it a bit, we rotate the arm a bit, and we just try to get it into a position where it makes sense. But. In. And then we're just gonna go in and rotate the fingers around the cup. That's like this. Text. Next one, you might want to rotate this joint as well. Exactly. So that's basically the work so there's not much to show, actually. We just want to make sure all those bones, and all this model is nicely put into place. We just aligned this one. Use the weight her if you have stretching, those guys again manually. So yeah, just use the tools that you have basically to get the model nice and position. But 46. 44 Final Render: Okay, so off screen, I finished the textring. Let me just show you what I did. I added some patterns on the letter, like some patterns on multiple materials. I added this little coffee symbol here. I also added an emissive map for the screen, and generally just went over the whole model, ddt more dirt, added more scriptures, as you can see, dirt and scratches. And that's basically so I didn't do anything out of the ordinary. So now all of this is done, we can export those guys. To export them, we want to choose metal and rough. And for the size, we want to export the body in four k and the hair in two K. And we want to, want to export it to my local folder and click Export. As you can see, on the body, we have an emissive map as well now, which are enabled in here. And the only thing in this emissive map is He's this guy. So we can have an emissive on the display in the renderer. Okay, so that's how my texture look. The other thing that I finished off screen was my rig. As I said, just rotated everything into place, used the ring here, and then just move those guys into place by hand. Now that this is done, I want to assign I want to assign different shaders. So as we did before for substance, we have at least two different shaders. We have the hair, the hair and the body. But now I want to do a third one for all the skin. So a third one for the face itself and the arms. And the reason for that is that we can add a different material onto those regions inside Mmosit. So let's open Momoset now. Let's import the model. Okay. Okay, cool, let's input them well. Now, as you can see, it imported multiple different materials, but as you can see, those are the three that we need. Okay, so we can basically get rid of all of those materials here, create a new one, call this one. Let's start with the body, for example, move it onto the body and start plugging in the texture. So let's just click on this one. Now we need the body nmalTec. Let's also change the skylight so it's better visible. Let's just go for this desert road. And as we can see the normal body looks different or wrong a bit. And we can fix this by flipping the white channel on this one. You can see way better now. Okay, so we have the normal, we have a roughness. We have a albedo might take a while. We have a albedo, which is the base color. We have a metalness and all the way down, we can enable the emissive as well. So we have an emissive now. Okay, so that's basically our first chatter. Now we can duplicate this one, call it, skin. Nope. And we can apply this to our skin. The only thing we want to change in here is, let's make this a bit bigger. We want to change the diffusion from lambertation to subsurface scatter. And as you can see, if we get a little closer here on the face, when we change the depth of the subsurface, you can see it, it just fakes the subsurface scatter. Let's fix the subsurface scatter here a bit. Something like this. That's great. Okay. Now let's do one multiplicate, and let's call this one. Here. Let's apply our hair textures. It's the wrong one. Here, roughness. Here, base here. Oop, wrong one here, metallic and no emissive. And let's just put this one on choose the wrong base color No roughness telling? Looks like our color looks a bit off, so let's check the settings. Yeah, I disabled SRBici so we're going to enable it again. And now the hair look fine. Okay, so all the shaders are set up already. So this is working out, great. Now let's talk about the basic light setup that we can render. First, I would add shadow cast on the ground. Then let's add some light. So you can either go to add object lights or you just go into the sky and click somewhere here, for example, it will automatically create a directional light exactly here. So we can take that direction, move it out of the sky, so it's independent now. And I always like to change it from direction to spot. Move it out here, somewhere, exactly. So we want to have I would say one light, one main light that just illuminates the whole thing from the front. Let's just make it. It's distance taller, exactly like this. The color, I would say let's go into some yellowish tone. Basically. Exactly. The brightness, yeah, we want to pump that up as well, I guess. Let's say, 2.7 or something. Oh, 2.77. So we have a nice light here. Now we can see the shadow catcher is already creating our shadow, so we can just lower this a bit 0.5 maybe or something so it's not as harsh. Okay, looks great. Now the next light I want to have is I want to have one from the back and one from the side. So I have this free light setup with a rim light and filler light from the right, so that's just duplicated one or either duplicate it or click in the sun and sky system again. So we want to have one somewhere here, I guess. We want to have it in blue this time. You can choose any color you want. I just like to go with something bluish. Let's see. Yeah, exactly. Now, this is, as you can see, it's too strong, so we're just going to tone it down. And we want to change the distance as well, because I don't want it to show up on the floor, something like this. Also, the angle. Okay. Okay, cool. And now we want to add one more other light from the side. Et's do this one in yellow again. Exactly. We should go a bit lower go like this. Maybe same for that guy, bit lower and upwards. But, yeah, you can change this at anytime. It's just what I normally do. So we have this free light setup. And now what I want to do is put some cameras in there. So normally I just choose a frame that looks roughly how I want the render to look like this. Then I go to edit scene, a add object camera because it creates the camera one in this example, exactly the same position. And now we just want to change the camera itself. So let's enable the save frame first so we see what our actual render would look like. Then let's change the foc length to 50. So it's more of a portrait camera, like more of a um, yeah, more of an autographic camera. Now let's try to position this camera roughly cool. Okay, we can always jump out to the other camera if we want to change stuff because I feel like this could be a little closer, maybe. Let's see. Okay. Then there are settings in the camera that we can actually change now. So not just the fork length, but we can also do some post processing now. For example, we can sharpen the whole frame a bit. We can bloom the whole frame a bit. We can, green is already on there. So we can already do some stuff. Let's maybe increase this brightness as well a bit. Also that one back a bit again check the front one. This maybe. So yeah, you can change all of those things on the fly. Another thing that we can do now before we press render is we're going to add a turn table, and we're going to move our aset in there. This allows us to do is just rotate the whole mesh, and we want to position the camera because I guess at the end, we want to do some turnaround. We want to position the camera in a way that it doesn't cut this guy too much. So let's just move a little bit down here. So on our turntable, he's always on there like this. Awesome. Okay, cool. So the last thing that we want to do before we press on the ranger button is change the renal. So we want, for example, reflections, of course. The shadows are already on high, which is good. We want to enable the GI. Now let's take a look at the aux ligrid itself because we don't want to like we don't want to use the aux for things we don't need because that's our scene. We don't need to be super big, we want it to be just in the scene, so we're going to change the size. And with the brightness, we can say, how much the GI brightens up, so's to a bit. And, yeah, that's about it. We can use Ember occlusion, as well. Let's use this one as well. To pump up those numbers, maybe still turn this a bit brighter. Okay, cool. But that's the basics, and now we basically just want to, press the render button, do some different shots from different rotations. And yeah, that's it. That's how we get all our renders. Okay, and that's about it with the whole tutorial. I hope you liked it. I hope you learned something. If so, it would be great if you could comment or rate it. And if you have any questions, please don't hesitate to just drop me a Leon art station. 47. Bonus 01 Facepolishing: D I it a I Dodd. H I I thanks thanks better I To Do. Do. The 48. Bonus 03 Baking And Texturing Part1: I Do a I D. D. Don't do. Don't. Don't. Don't the m I I on a I D. D. D. D. D. D. D. The Mm hmm. I I I like that. M and on 49. Bonus 03 Baking And Texturing Part2: A D. D. D. D. D. D. D. D the Mm. That D M I oh A I. D. D. D. D. Don't the I I I So oh It A He Don't The A 50. Bonus 04 Rigging: Okay. Y. I D. D. D. D. D. Don't The