Creating a Dancing Girl Part - 03

1. Introduction to Part 03: Hello, my name is Akash thing and I'm a senior character artist at Ubisoft. This is the third part of the series that I have created the dancing girl character. And in this one, we'll take a look at how we can pose the character, will style the character of a different meshes. We'll create hairstyles, will detail all the hair and other parts of the body as well. We'll add more elements to the character, such as shoes and other props like belts. Also finally, will be posing the character. And we'll do Polly painting to the character so that we can make it more presentable. So without further ado. Let's get into the first lesson of this course. 2. Preparing the Dress: Hello and welcome to this course. This is the third part of the course where we are creating the time dancing girl. And if you haven't watched the other two parts, I suggest you do that first, because we have created the base body and then the second part, we have created a dressing model of designer. So what we did, we just imported this dress in a quadrangle late manner, and we have just imported this grass now. In this video, let's talk about how you can make this dress ready to sculpt or ready to have a 3D object. For that, we might need to put it on a polygraph first. For that we can use auto group as UVs. Using UVs, it will auto group it automatically. And why is that useful? Because you can have a certain groups which you want to isolate. Welcome. Also, it tells you divide or automatically create seams when we panel loop it, I'll explain that to you later. So for objects such as this, you can, if they are not visible, you can use flip in the display properties or double. Yeah, let's make this a little bit better. Just move things around here and there if you feel like it. Or if we can just go ahead and give it some depth. The depth part later on. Let's make sure that the dress is I'll just this dress is not going to be final one. I'll bring in the final one after we sculpt this this body. Okay, so let's start by moving things around and tried to have a proper silhouette for the dress. And for that, you can use smooth brush, which I'm doing right now. Make sure this is just a pre process of preparing the dress. You can add more of the details, more of the folds, which will add in a bit. Now, your focus should be to avoid any kind of intersection with the body if it's happening or any kind of, you know, other things. If you see any kind of artifacts or any kind of distractions which you don't want in your dress. You can do this. And the first stage before splitting the dress in two parts. So once you have created all the groups using auto group with UVs, all you can do is do all these little nets and bits of fixes that is required for the dress. Also, you can, since we have the groups, what we can do, we can just Control W while if it's visible, to make it group visible. That is what I'm doing. I'm dividing it into groups so that I can easily switch between the details or the parts of the dress if needed. You have to do is make sure whatever you whatever the part you want to have one group makes sure they are. They are visible and hit Control W. But you can go into polytope and hit Group. Once you have everything grouped up, now you can start adding a little bit of those details like smoothing or even adding few forms which are Lu, I have this closed scouting brush, which you also can use by, just by using standard brush with a smaller alpha, such as this, which is right there. You see the alpha channel LFO section. So it's just data the **** with a little bit of gravity on it. So if you want, I can just teach you to make that brush as well. Oh, it's just you get del just minor details. You don't have to worry or use any specific brushes with some gravity or any big Alpha, use standard brush and you'll be fine. Yeah, Try to, try to imagine the silhouette that you want your model to have and try to stick with that. Also giving depth using panel loops. Make the edges three and don't use any bevel or elevation should be minus hundred and hit the edge loop X0. Make sure your distance is what you want. You can undo and test it few times if you think that it's not happening. So at this point, I have grouped, splitted it in several parts. So if you observe my sub tool, you will see that there are multiple objects now. So these are the primary preparations that you have to do once you bring in any model from marvelous designer. So once you have those groups fine. You will see that after you give panel loop and you sub-divide, it, will see that it will automatically create the themes for you. That's the proper workflow from Omelas to ZBrush. Further video. In the next video, let's see how we can create some hairstyle for the character. 3. Creating Base Hair: Hello and welcome back to another video. In this one, let's create the base here for our character. So for that, let's mask out the area where you want your hair to be. So in this case, we're not going to use fiber mesh. We are going to create an stylized here which is made up of an actual mesh clay that you can say yes, for that just mosque or you can use symmetry if you want. Even if it is totally subjective and depends on your hairstyle that you are going with. For me, It's fine. I can change it anytime, so I am using symmetry for now. So after extracting, I can go ahead and do the 3D mesh or it's gotten asymmetric manner for extracting, I'm using a plugin called extract rho plus I have bought it on art station. You can also use the extract which is under sub tool. It just seemed it does an extra step of remeshing it. What I'm doing right? Also, it doesn't give you the depth and other mesh so that it doesn't matter. We will create our depth, I will close holds and it'll be one mesh. But my point is you can use the same one which we already have in sub tool. You can use the extract and Z remeasure it for soar. Once you have the scalp, he'll kind of thing ready, something which covers the scalp. All you have to do is fix it a little bit. If you want, you can just go ahead and go to the panel loops and set your edge loops to three and z dimension if you want, if you want your hair to have equal amount of edges that I said, you can use extract under subgroup, that'll be easier. You don't have to buy any plug-in. But once you have those ready, go to panel loops, set your edge loop 23 and distance according to your thing and you didn't give the debt otherwise. Other option is you can go to Modify Topology and close hold for now, I'll just say z dimension so that I can have a better subdivided polygon or equal distribution of my shoulder edge. Once that part is ready, I'll go ahead with my sculpting using claiming that for now. Also filling the color. Using Fill object, you can find under colors and put whatever color you want. I kept it a dark value of the color, dark gray and sculpting it a little bit. Also, using clay buildup mainly to add some volume to the hair and **** standard for the middle hairline that we can use. Also, if you see the heads calculus is when you can move the brush or you can move the head around. Now have decided that they're, the hairline will be on the site. So I turned off my symmetry using x and carved into detail using dam standard. Now using move to pull out the hair so that we have some volume on head. And here, which is not sticking to the skull or the head, looks way better because it had some volume and it looks more beautiful. Yes. You can move your hair, mesh outward and add some volume lab using limbered up to build the forms. There is a certain hairstyle to the character with the braids. I'm just defining an area where the bridge will go. It goes from left to right all the way down. So yeah, let's detail, but here further add more strands to the hair in the next video, I'll see you there. 4. Creating Hair Strands: Hello and welcome to another video. In this one, uh, let's create here stat. So the brush that I'm using right now, I'll attach that in a zip file and send it to you. It's a free brush that you can download from bad game. So it's a hair brush and it's just, you just have to have a surface which doesn't have any subdivision level. You can also add a sphere if your scalp yet have any subdivision. So all you have to do is just drag this as easy as that. Also, if you want to create it from scratch, you can use any sphere or mask out the area, such as this one, anything, and extract it and make it similar to this one. It's an easiest to matter that you can use to just have a brush such as this one and go along with that. So yes, Right now, as as you can see, it's sticking to the it's sticking to the head. Attached two types of brushes. One will stick to the mesh that you are painting on. One which doesn't which we will use now. Yes. After this one. So some of the hair if we want, we can have the flyaway hairs secondary years where it doesn't need to be always stick to the surface. Then in that case, you can use that brush. So now in this case, all you have to do is create single stroke off that brush or hair strand and adjusted using more pressure calling tune it. So yes, that is a proper workflow for creating stylized hairstyle for why your character. Let's speed up the process a little bit. So now I'm using that same brush, but I'm just pulling it away from the surface so that it gives me the floating hair look. There we go. Place it in place using your gizmo or you can also use your brush if you prefer, and move it according to the shape that we want. Now you can also auto groups so that you can mask using Control and click on each hair strand while pressing W. Auto group can divide you here into multiple groups so that you can Moscow each strand and it's called separately, give details. So what I'm doing here, I'm giving more volume to the hair. Also a coloring the strand in the same color, dark gray in case it can be black, but black will not show you details which I'll suggest. You also keep it dark grayish tone. Otherwise you won't be able to see any details if you go with black. Again using move topology so that I can move strands separately. So that is one of the best way. If you have closer objects, one object close to other, you can use Move Topological brush to move single-part, which is touching the brush. In this case, it's trapped. So yes, it will move that strand which you are working on. It will not move at this time. Instead of mood, brush, my brush works on radius. This Move, Topological works, works on the object. Moving things around, duplicating the hair mesh using control clicking and then dragging it along. So while holding control, if you drag using value, gizmo is active, you can duplicate it within a single supplier. Make sure you have Auto Groups so that it's easier to select. Now moving and using clay buildup to build volume to the hair, creating good hairstyle which suits the character, is coming on the forehead and one part gets splitted into some 30, 70 hairstyle. So yeah, that's what the aim is here. And on top of that, we can build some details. And the more strain you have, the bus brushstrokes and the more detail it'll look. Let's make the bricks and next video, I'll see you there. 5. Detailing the Hair: Hello and welcome back to another video. This is gonna be a quick one. We will be using the brush to make a braid. Breeds. And yeah, a little rotating the brush to you. Does it will be attached with this course. So, yeah, let's load that brush real quick. Once we have the brush, It's the same with all IMM brush. You will surface should not have the subdivision, otherwise it won't work. You can also append any fear and use that as a base to sculpt this braided hair. Brush. That means you will get a curve which you can manipulate. It's similar to what we have been doing with the strands. All you have to do is figure out a way to keep it at its place. That means whatever you want to create, figure out a way that it meets that this region that you have and the end and the beginning of the brush, you can just simply hide it inside the hair. Here, as you can see, I'm struggling with the sheep, the actual shape I want. And I am just trying to avoid the twist that is happening that is making this. My braided hair looks weird, which I don't want it. I want it to be in straight line. No, I kinda getting it. So I'll just in the end, it just breaks it. But I will keep something if I find it all the way consistent from right to left. So yeah, make sure you have all. Also, if you want to make this easier, you can use sphere and draw it on top of that or a cylinder. That's the easiest way to do that. And you can see if some of this trouble. So yeah, once you get the final shapes in, if you are happy with the braids that is coming along, all you have to do is move it in place, make sure the ends and the beginning of the braid is hidden inside the hair. It'll just look weird. And that is what I am doing right now. I'm just moving it a little bit. I'm just trying to averaging it out, making sure that all the braids is equal so that I am moving it from all the places from Yeah, so that it all looks equal. Also increasing the inflict a little bit so that I have less gaps between the platelets breeds. And yet again, moving a little bit and trying to make it more natural. Yes, it doesn't have to be very complex or something like that. Also, you can add more details on your base. And by doing that, your hair will look more integrated. Whatever parts you will add. Strand or these breeds, it look integrated if your base is fine. I am just trying to innovate a little bit, trying to create a different kind of hairstyle for the character. So I'll also attach the reference that I'm following. But I don't have any back view reference. So this is where your creativity, you have, oh, stand out from the reference. You don't have to use 100% of that reference. If, if it, if you like it, you can use it. But I would say whatever you are creating, put your input as well. If it's something that you can't see in the reference or it can be anything. You can easily see that, yeah, I did something for the peace. Do that. That's also practice for your creativity. Just refining the shapes again and again till I feel it's pokey and making sure that I can see the braids equally from front. Otherwise, it will look weird like it is right now. So yeah, Making sure that shape of the brain is more rounded and it's visible from the front, the whole brain to, to hear the black color solid on the dark gray one. And using dam standard enclave build up to basically adding more details around, all around. Doing the same at the front, using clay buildup with smooth to smooth out some of the unevenness which clearly the drinks. And adding the details which denotes the flow with dictates the flow of the hair. Clay buildup is a really good option. Also, one other way you can go is use **** standard. That is also you can use by carving the details and dictating the flow first and then adding more details. So these are two methods that you can use to create. I'm here, I'm Mish. Yeah, just moving it around and trying to play with the strands a little bit, duplicating the first drag on Friday and making a little bit of more variations to it. Making it more interesting, also more engaging, more intricate. So that the more here strands you have, the more detailed it look. So that's the basic formula here. Going with also, you can make it more random. But it should be, it should be logical. You can have it all haywire. You cannot have it go the hair in all directions. Make sure even if it's flowing in the wind, even if it's still whatever the case may be, some hair can go right. But decide the bunch can go in only one direction. Some can go left, some can go right. But it should denote a topological hairstyle otherwise, look back. So focus on the hair strands more than the base. Because you'll be, it's gonna be covered with the strengths. It just doesn't make sense. Sorry, I focused on the hair strike first. Once you have all the strings in or whatever they do, want to put n, we can go ahead and be dealing other parts of the model in the next one. 6. Adding Flyaway Hair: Welcome back to another lesson of this course and this one, let's create some flyaway hairs, some tertiary here that will give more natural look to the model. Even if you are going with stylized or realistic here. The more detail or some adding some tertiary here can really make your model look more believable and it'll appeal came a little bit. So yeah, you can also auto gravure whatever strand you have. Control, click on it to select it and drag it to duplicate it while holding control. And while duplicating. You can add as much as you can. And once you duplicate, you will see, you will notice that the duplicated here is only unmasked part so that you can easily work on it. So that's the fastest way to duplicate a bunch of extra strands. For your hair. Again, add some more strengths to the hair. Here, I have just flipped the hair strokes in horizontal the brush, so that while I drag it out, it gave me the strength, incorrect manner. So here I am adding some smallest strands on the back, which has some flyaway hairs, which can go in random directions. And it looks even cuter. So you can add them to their sum. You can kind of hear that happens on the back of the neck or for girls, it happens mainly for long year. There are some mini hair that goes haywire, that looks cute. Make sure that you add some among 2345, not more than that. Otherwise, the bunch will look bad. It might look interesting. Make the slurry here, rather than still all straightened here. Flowy hair tends to give more, you know, more streamlined effect to the model. It will give the hair more natural look. Make sure that here rests on something even if it's sore shoulder or somewhere, if it's short here, it rests on the gravity. Right now I'm trying to make one strand rest on some part of the dress so that it looks interesting and it actually breaks the monotony of the model. It gives a little bit of twist, nothing else. So yeah, we have added few things on the right will add few things on the left as well. Again, I'm going rotating and the models are on, making sure everything looks fine. So yeah, you can also, if if the area doesn't look more complex or if you want to add more strength to the repeat the same process. Again, duplicating one strand. Once you see the E is filling up. I'll also add variation. They should not be flowing in one direction and B in straight line. If you watch it from the side, from front, it might look good, but make sure if you watch from the side, they have some zigzag pattern or some variations to them. That is important, very important. So yes, view your models from all angles. Now, what we can do is we can just simply Moscow the areas which we don't want them to edit and we can edit it. So you get I am just trying to figure out there was a matter it happened. Some extra parts of the mesh was coming so you have fixed them using what? I added. One more strand on the right side. More interesting, look. If your hair is going to turn, you can use inflate brush to give some volume to the strand. Otherwise, it'll be easier to move around. Sorry, it will be harder to move around at one. Nice to handle it. So once you have hidden all the layers, what you can do, you can split them so that you can mirror them. And other axis. So I have splitted them. What we can do, we can just measure them like so. And then you can watch down. It'll look exactly the same. Now what you can do is you can fix one site or any site you have fixed one side, so I'll just fix the left side now. I'm happy with the right. Just to add some variation and remove that butterfly effect that happens when you sculpt our view the models in say my critical way, the model, if the model is created from scratch, n-fold symmetry. We'll see it's looking it hello, butterfly effect. That is, that all the details on the left is reflecting on the right. Also, you can use the mirror effect image. So yes, I'm like dad and add some variations on left and right side adding black color. That's it. 7. Painting the face: Hello and welcome back to another lesson. Let's add some olive green to the model so that the face looks even better and we have some idea how the model is gonna look like. So for that, let's start with our base color of a touch of orange and something for skin filled object in RGB mode and start something purplish. For ellipse. Since she is wearing Victorian style desk, she is visiting any place, any fancy place. So I lipstick is important. It doesn't have to have those natural lip color. Make sure you add some makeup to it. Nobody denies that. That looks cute. You can add more variation to left swipe, adding more darker ones on the edges and on the lighter tones on the center part. Make take a pink, pinkish color and blend of skin tone and add it on. The areas where you seem. They are thin edges like those are thin surface like nose and ears or some part. To add some blush on the cheeks. Take some pink blend of orange or something like that and try it. Try different colors. Play with some color. It's best practice to add detail or some variation on the face. Flat color, face doesn't look interesting. Add some variation and experiment with them. Or add some blend of pink or some purple for eye shadow or something like that. You can do that. I am adding a purplish, dark blue tone for my eye shadow here, which looks appealing. Normal eyes are kind of marine scene. She is on a heavy dress. The makeup should be one point and it shouldn't be overdone. It should be subtle, but there should be some makeup too. Support the character, support the look, that she is going good. That is the plan here. She's a blend of cheerful, dark character that we're creating. So that is the basic idea. That's wear dark lipstick. So your colors can really tell about the character that you're creating. So pick your colors wisely. Adding a bit of a detail on the eyes. Putting in some darker values around. Did not want it to look all brown. So some darker tones they're trying to look at from a distance, making sure the color is making sense or not. Otherwise, I can remove it. Now, adding that depth that I was talking about, taking the darker of the scene and how do you get on the inner side of the curvatures of the lip? Which looks good. You can start with the dark color and paint tool and paint over the lighter color for the lips. If you are creating the base as well, you can go that route as well. What I have done is also fine. Now, adding a little bit of those specular highlights, faking it on a distance, it looks fine. So why not buy lighter color? You can also do that. You don't have to go in a little bit in a lot of detail. If depending on your shot, if you are creating something which is not going into the skin, you are not showing those pores or texture XYZ details don't have to go into too much detail. Can, if you're creating a stylized character, make sure it is meeting that requirement. That's all. It doesn't have to be hyper-realistic. That's why it says stylized. Zooming in and zooming out plays a really effective rule. You should also do that. Do not zooming and paint everything. Otherwise, it, whenever you zoom out, it might not might not look good. So make sure you zoom in and zoom out consistently. To avoid any kind of mistakes, which happens when you focus too much on one idea or zoom in on one area at the back. Let's keep detailing this character in the following videos. I hope you are learning something or you are enjoying the video that I've been creating. I'll see you in the next one. 8. Detailing the base hair: Hello and welcome back again. Let's add some more details to the hair. Let's make it more believable. Right now we have kept just the base skirt on top. We used clay buildup for that. We just defined a flu how the hairs going to be for the head I'm talking about. We don't have to detail the strand. We will have to detail the scalp ear right here that I'm doing. So to do that, you can use **** Standard. And when you press Alt, a dam standard works in a positive manner. The detail that it is supposed to carve in. If you press, the retail will come out. It'll work in a positive way, how it's supposed to. So yeah, to the easy, easiest way is to press Alt. Also, if you see on top of your interface, you say z and z. So that's the same thing if you switch yes, if you observe I have been switching it in between the islands, the sub just by using the finding the same flow, refining it using dam standard, not using any other brush. Just flattening a little bit using flatten brush, making it look more stylized by removing all those big Gleaners. That happens sometimes if you are trying to be a little bit active or you want to make any piece and not very careful with the speed that you are going with. You can, you may end up with some wiggly lines somewhere. So you can fix that by using the Move brush or by using just a flattened. If you want some surface to be in a flat manner. That makes sure you decrease the brush size. You have some thin lines going around, which just helps with the visuals. Because even shapes or the size of the brush with equal-size all are everywhere. Doesn't look so boring. So at some variation by changing the brush radius, ending density as well, if you do that. Make the flu, if you want to push in, just do not work or use standard or dam standard and pulling out the retailer will pay pressing the oil. Being the same everywhere. Nothing special. Claim not to overlap any line. Otherwise, it looked weird, dry. It it might it will look weird if two lines or two hair strand will cross in your **** standard canvas, which is this one right now. Because you won't be able to tell a proper depth for that and the proper flow. So yeah, make sure your lines cannot overlap and have a clear goal of what you're going to achieve. For the big blobs right here, I'll do the same as well as add some details. I had a bigger details. Don't have to go into much details. Here. Already looks me how the flow ready, we just need to add some sharpness and some of the details. Just to show the bun is there and some stylized bunch, some interesting looking one which goes around. So yeah, that's pretty much it for the hair. We will repeat the process where we see fit to be here we see that we have missed something, go to the same genus. We're here. Let's touch the nose a little bit. If it's looking weird, You don't hesitate to touch your model wherever you want. You can also smooth your poly paint using Shift. It'll smooth both if you have the ad as well as RGB on. If you want some smashed poly paint, you can do that. Adding some freak freckles, maybe. You have to decrease your flow of your spray. Inside the spray. Pattern will find the flow and decrease that to get the space more between those spray patterns happening, make sure you select the sharpened and smaller Alpha naught as much as you can. Because it might not look good. With big, big spheres are big circles as an alpha. To make sure to use the small bowel. Again, coming back to the hair and smoothing it out a little bit, making sure that hello is proper. Also making sure they've kind of makes sense How the **** is happening and avoiding those overlaps. That's the main key here. You have to divide the parts of here and make sure you do not cross those platform with another line. That is the main focus. And then the next one, let's create some shoes for the characters and make cool, complete. 9. Creating the Socks: Hello and welcome back to another lesson. In this lesson, let's see how we can create socks for, for, for the atlas happened sphere. It can be anything, we will be z remeshing it later. So since we don't have any feet or foot to extract this from me will append it. Once, append lead shape, as close as it can be like a fork. Because since we don't have a phone, will be keeping the socks and shoes in place. Using DynaMesh to make it more, have more of those subdivision and have some of the details. So later on we measured. But for now, DynaMesh will place it in place of where it was left. The fourth part, because it was just empty, so we'll just place it. Any part which needs flattening used proper brushes if you want. I used to flattening for that top surface and moving my way using our brush to lay in place according to shape it more like a sock. Have some references ready for the foot so that you can visit it. Otherwise, it will be a little bit hard for you. If you don't know basic anatomy for that, you don't need to have an expert to be an expert for this one, but just the basic shape of the foot will work something like this. Make sure you give proper weight and all the proportions. Otherwise it will look fake, which we don't want at this point. Also, we don't want it to be super realistic because that's not the goal here. We're just looking for something that works for stylized character. And 11 thing that people do as mistake is they keep the foot too long or they just ignore it. So yes, these things you have to keep in mind. Don't make it too long or very short. Making it like a shoe. Know. Just increasing the little by little, the resolution for DynaMesh and moving it at all, smoothing it a little bit and flattening it from the bottom so that we have a flat surface to work on. The bottom. Up like the meshing of stretching, just Control and drag on the outside empty area of your Canvas so that you get a proper distribution of some division or mesh because we are using that image right now. Also, if you want to set the stroke got four, isolate any sub. Select, control shift, click on any of the lake launchpad and C button, which is behind me, and set the shortcut. There. I have decided to place the show for now. All leading meshing it too, so that I can do I eat and have a better details all at all. I have just duplicated that same mesh and I will be using that as a sock. So first I created the base for the shoot and then duplicate it the same thing. Dynamesh it. And now I would create this sock insight. You can go either way. I thought I will have a base for the shoe ready so that it'll be easier for me to create the socks. And I don't have to work on the internal part a lot for that. That's why I went with the eyebrow of creating the shoe base first, then socks. It's all personal preference as any work can be achieved any way. And there are thousands of ways to, to get to one point in ZBrush. So yeah, no method is right or wrong. Whatever you feel is best for you. You can go with that. Shaping it up a little bit like a foot. Don't have to create fingers since these are socks. Mostly if you have seen I have been using mostly move and clay buildup sometimes move smooth, leveled up, or flattening the lower surface or the feet flat and is the one that you can use as well. That's it. Sometimes you might have to adjust the body as well. You might have placed the leg in a wrong position like I did. It's coming in front. It should be a little bit of back because the ankle should align with the cuffs. In this case. That's fine. Somewhat, somewhat. It's not perfectly, but it aligns somewhat. So make sure it's not too forward. It should be on the backside that your character, in any way, if you looking at it from the front or side, it should not look like in any way that it's falling or it's out of balance. It's something that you have to keep an eye on that you don't miss out those center of gravity lines. Once I have the basic shape of the socks ready, I can put in those bone landmarks that is there, the angle points and everything. So here we go. Using a little bit of flavor doubled and with the blend of mood brush and smooth it out so that I can get back those two points which comes out on the ankle area where the leg bones attached to tax and shipping it out to make it feel like yeah, we're creating some only making the Gulf surface flat as it should be. Measuring it inside tool. If you go into plug-ins and go into sub2 master where you can find mirror along x within the same sub tool so that you can work on say, my tree. That's up to them. Also, if you're interested again in this interface, I will be providing it with the project files. So don't worry about it. If you like it, you can use it, otherwise you can create your own. It's very easy. Now, our socks is ready. Let's move on and dealing with the shoes. So I'll see you in the next one. 10. Creating the Soles: Hello guys and welcome back to another lesson on the course where we are detailing this character. And for today, we are detailing the shoes. So let's bring in the base shoe that we made. Scale it down because it was huge, like a clown, clown shoes, which we don't want. We want to sleek, stylish looking shoe, which we're not going for heels here. But we are going for some teenage girls shoes, which is a combination of party ads for shoes. So that's the focus here. For now. I am just readjusting. Since the shape is looking a little bit weird, it was looking from the opposing tooth. So what I did, I kept it on the opposite type and mirror it. Now we can work on mayors on both the shoes at the same time. Subdividing it so that I can get better resolution further and shaping it more. Creating some gaps for some larger gaps for the food and making sure that it's flat from the bottom. Now what we can do, we can Moscow day where we want our mesh to come from. So what we'll do, we'll create a part for the soul, will extract a part for the soul from the same shoe. So to do that, make sure you don't have masking any part other than the bottom part. Take your time and Moscow the areas properly. And then what you can do, just extract them from sub two. Ones must you can go to you can just extract it from the sub to Laswell. I have that extract plus I said, yeah, now I can just pan a loop. So when you extract from me, you don't have to do this. It'll automatically do it. But again, you can keep the bottom face and delete other parts as well. Fucose, subtract and go this route. What we are doing, we are doing the panel loop and adjusting your Taconic. I see that the soul is to, you know, it's very deep so we can adjust it later on. That's fine. I'll show you a neat trick to create that gap. What happens between the front end, back part for that, you just have to append square, rectangle. For that matter, a cube or a rectangle, anything. Shape it off, whatever you want the shape to be. I want it a little bit slanted and got it in this way. So I'll just imagining that shape. I'm imagining that cheap, all this cuboid. So that is what has, what we are doing. They're just creating a shape or where we can make code. So using that cheap yeah. Created or once again, I just did the same thing. Using our cube. I just initialized it and make polymers 3D, had the shape ready. We can append it. And now we can just scale it down, move it down. And then we can start editing it. How we want a shape to be. Only using moon. For now, we'll be using a Z modular Stenovec. Let's switch onto the brush called Z model and make some bevels for the edges. Be Zeta M is the shortcut for Z modular. What we can do, we can select, delete and read the center lines. For this one. If you do that, you will see that your face will also disappear. That's fine. We have a solution for that and we can project. So yeah, let's find something which is applicable. This sometime it can be hard. Let's use. Which it works. So that's fine. What we can do, we can just scale it down a little bit because we want this shape to have that gut for. I'm just using again some Move brush, making sure I made the shape that I want it so that we can extract, subtract the shape. And we get the soul which have this detail. In this week. We have it, we will just use the same z modular brush to bevel it. Let's elongate a little bit right here and subtract it and see how it is looking by using libor. Yeah, it's looking something like this. Which just means that's fine. That's what we want. We can adjust it a little bit and it'll give you nice libraries or you can make changes according to whatever unit. Now, let's switch on to be Zed m, that is z modular. Selecting edge and bevel it. Let's select the edge press tab, hover over the edge press Tab and you will get this option. And then lift. Make sure you experiment with other options so that you can get grindy results. And sometime it can surprise you. Sometimes if you have enough practice, you know what to do, that's fine. You can also use Q mesh to add subdivisions or even insert just the answer, that's fine. You add subdued. Yeah. And when you press Control D are subdivided. It'll be fine. It won't default too much soap. Add subdivisions using your mesh or insert or what preset. Supporting edges. Pulling out the soles a little bit more. Now once you are ready and you feel that the whole is fine, you can go to Boolean and make Boolean. Make sure you get that. Everything else is hidden. But what I did, I did a mistake. Everything else is unhidden. All the objects to make sure the soul and just that object, which is your whole, that is only hidden. Everything else is an oxidant, so yeah, I got everything. Let's just delete that and do the same thing. And here we go. I'll delete extra parts which we created this message from. This is our final mesh. Which weekend? Zigbee mesh. 11. Adding the Straps: Hello and welcome back to another lesson of this course. In this one, let's see how we can add simple straps using IMM brush. So for that, you have to just append any sphere because all of my model or sub tools have some kind of subdivisions to it. So for that, what I'll be doing, how we're doing the easiest way. Because all you can do else if you want to do, you can create the straps by extracting the piece. And if you know Maya, you can go there and Maya Max and build one for yourself using a box, extracting them, extruding them again and again, or using a cylinder. What I do for that, what I do, I have some IMM brushes. Simple one. These are simple straps that you can use. You just have to search for straps and brushes, for ZBrush and you will get a lot of them for very cheap one or two bucks. And you can just drag them, use them. It will be very handy to keep them because in almost all kinds of characters you will need them. So why not just buy them? You can also go ahead and create them. So very easy to do in ZBrush or any other software which if you want to do some poly modeling, you can go ahead and do that. These are just some parts, little parts attached to it. I didn't want to I did not want to waste much time showing you how to create such simple objects like these ones. So let's, let's save some time by using what is meant to be there. Brush and which increases our workflow. And why do we time when we can have it in one or $2? So that's, that's fine. That's there. You can just search them and download them. They are not expensive, but they do can save you a lot of time. If yours. You can adjust them later on. What I'm doing is just using moon and trying to fit it according to the shoes that I have created in the last video. So not very realistic. I do not want to go with all the scenes and everything. So this is the basic, the basic thing that we can place on top of tissue to get the desired result. 12. Detailing the Braids: Hello, once again, welcome to another lesson in this one, let's detail the hair further. So let's start by detailing the strengths. For that. I'll use **** standard. And by pressing Alt, I can make the brush behave in an opposite way. And this way, it will bring out the screw that I'm creating. So we just that what do you have to do? Just creating some simple strokes to make here look more sharp. And that's one style that you can go with for hair. Stylized, This works fine. Also, you can use flattened a little bit at coalition called the MCA. So what I'm doing, I'm doing the same thing for every strand. Using dam standard to create a sharp edge like this, which gives it more stylized look. For here, it's not rounded. It kills more people that you've kind of effect and which looks more interesting. Cleaning out some artifact that happened during sculpting. Bad accidents might happen. So yeah, sometimes. So I will do the same for each of the strand present on the head. Isolating one by 1.2 in the scene. Whenever I feel like I do some of the smoothness as well as some flattening there as well. Like so. Let's cut it and Let's move on to the bridge where it is basically the same technique with that, I'll follow for that as well. Now we are at braided for the camera, which is facing the part which is facing the camera. I'll do the same like since it's the turning point, I would use the dam standard and and make a stroke which is how we just pulls the mesh out, not the inside. Like so make sure you have some lazy mouse on in stroke unless you can find laziness, turn it on and how the laser it is to around 1110 to 15. Not more than that otherwise would be hard to adjust because it's not a big surface and to take some time. Yeah, Also if you don't use lazy mouse, your strokes going to be little bit warm lead, which it's better to avoid that. So usually it's not something that we can or we have to do, but it just gives the good result we are making. Stylized. So I'm just fast-forwarding it because I'll do the same thing. I'll just use **** standard as well as some parts. I use flattening. If it's to me or I see some bugs, I'll just flatten it out to make it more stylized. Make sure to sculpt your models in all the angles. Keep rotating them, keep zooming in and zooming out them so that you can have a proper consistency all around the model. You will want to stick to one angle and detail everything. And then when you turn it, you see that everything is here while and they are not properly proportionate. So to make everything proportional in the detail all around consistency, make sure you rotate the models and seed from 5D, Zoom in some men to multiband. So yeah, that, and we really do this character further in the next one. I'll see you there. 13. Posing the Character: Hello everyone and welcome back. Murder lesson of this course. Let's start by posing this character. Let's hit on T-pose mesh. Send every receptor which is visible to one single sub tool. And then if we change that, there'll be able to pause it. Take some time. Since we have a lot of substitutes and with a high subdivision levels, the dresses heavy as well. Now we have all the supports emerged as a separate sub tool in a single file. So everything, despite of being having separate poly groups of the body, it works in Brings there. It brings their own SAP tools like as a polytope, one sub tool as a polymer. So our body will be one poly group and our address will be, and it'll be easier to mask if you control take your decimal is on, control-click any part, you can mask it up. What I'm trying to do is I am trying to rotate the model from the waist up to make our dynamic couples dancing, something like that. So yeah, I have just masked out the area which I want to change and just rotate it and make changes according to whatever you want. Whatever the pose you're going with. If you're going with the same foods, you can do the same as the control plus shift plus clicking on the model will isolate that part. Whatever part you click on to isolate it. And then you can go ahead with the masking and do your mask. Just have to figure out a way. How do unmasked certain area, what do you want to move or what do you want to pause, and how to mask? In this case, I have to mask the body and dress everything apart from the right hand of just I unhide the body and most right-hand and then masked out everything else other than the light that you can do that by Control Shift and clicking on the empty canvas to invert mask. You have to spend some time learning how you can use masking techniques. For that. I might go ahead and make a special video for that, but not in this one. That's easy or easier when you just have to make decisions based on your comments. For now, my requirement is just to move the hand. I don't want to distort anything else. I'll move dresses later. And I can pose the dress according to what pose or hand pose or leg, pull them. For now, it's just a body that our tools. I'm being very careful masking out the part which I don't want to move and placing my gizmo there and rotating it from there. Let's speed up the process because it's gonna be a repetitive. I will just mask out everything else and I'll keep pausing it. You can also do some Skyping like smoothing and moving. It will reflect whatever you do here. It will reflect everything on your face. Model which you are coming from your actual. And do not save this as a zip file because it doesn't work like that. You have to press the pause to sub T button and while after processes everything, you save your file. I have seen many people do this mistake. Save this version of the file, which is, and they thought that this is post. So it doesn't really let that it won't retain all the detail that you have in your previous file that is a separate sub tool section, ends up, do you have that file with a high number of substitutes? And this file is just what I was trying to do. I was trying to figure out how the hand will rotate or twist when the arms go up. I'm trying to do that. So slowly and gradually I am rotating the drum parts. I'm breaking it from elbow and the shoulder. Don't have to post everything otherwise, the twist will happen in shoulder and local. Halfway from shoulder, halfway from the elbow. It'll be fine. That's how it happens in real life. So mimic the polls that you are going to going with between four and you can try that in real life. You can try in front of a mirror and see, observe what changes are happening in the body. How the muscle is stretching, how the bones are rotating. Here, you can try that and it will be, you can be the best reference for your model. So this is the way how you can follow it. I will go ahead and speed up the process and I might not sure how I post the finger. We're going to do the same thing, just masking it. It's a diary. It might take some time to adjust, but the more time you spend on it, the Lord he find your result will look. You will see some distortion, you will have to fix it. So yeah, if you in future, if you are creating something else and you have detailed a lot in T-Pose and if you have to pause it in high poly and no, I'm sorry for that. You have to detail it again after pausing because that's how it works. That's how the world is. 3d. At least. You will find some error or a lot of errors when posing. And then you have to go back. Pose, even after putting all the details in new T-pose, you will have to do them again because the details might be stretching or they might not look good. It will happen a lot. I'm just trying to refine it a little bit from all the parts for that. You have to have some knowledge of anatomic. But otherwise, it'd be hard for you to take up certain reference from indirect because this is something that you can't see, the gross and which is hard to follow from certain angle. So it's where some knowledge of anatomy will come in handy. You can just pull out some references. You call this, should pull out some references from Internet. They also make osha muscle model or images with all the muscles information or something like that. Bullet out and see how it works. Also, use meter. So for the dress in word selected so that I can unmask just addressed. Then I'll just mask out the area which I don't want to receive. Whatever you want to unhide. You can drag the selection by using Control Shift and dragging it and then press Control Shift H to show whatever is attached to that mesh. It will show everything. Now, let's start pushing and pulling the dress a little bit. I might just go ahead with this pose in marvelous designer and bringing the post dressed. You can do that by loading the model as a morph target that we'll do a quick animation and you be addressed. Let's simulate according to this problem, I will do that if I want like the visual of what I am doing because it's distorting the dress a lot and I will just leave it like that later on. So yeah. I'll let you take it further in the next one. 14. Re simulating the Dress: Hello, hello, hello, and welcome back to another lesson of scores. Let's quickly just the base model. Whatever we have sent earlier. I just have to figure out what I sent for simulating the glute because the same model will get overridden by this one as an morph target. And for that, you should have the same model posed in another by sea model. The model with the same amount of water disease at the same polygon. So this is the model that I built, work on a little bit and I will send it to marvelous designer again, just to simulate the dress according to this one, because I did not like that move stretchy field of the dress tools that were happening in the early reduce. So I plan to make it more streamlined. Why not go ahead with another simulation since we are here to get a professional look and ease this refining the bones a little bit here. And then we will send the same amount of object we have sent earlier for simulation. Oh, yeah, making it a little bit more dynamic. Like she have in the reference. And I have paused the legs as well a little bit. It's across walking kind of pose. It was not visible. So went with creativity. You can do that as well. Let's stand up those two marvelous designer. We are here. I have sinned OBJ, OBJ, and import the file, choose morph target as a morph target and okay, it will take some time. It might crash for you if your system is slow. So yeah, it will deform the model and pose it accordingly. So I'll just pause the recording here and I'll show you the final oppose, how it looks like. I hope it doesn't crash. It will be slow, so hang on. I'll just skip this part and show you the final result. Here we are again, ZBrush. I have the simulation ready. Let's switch windows. And here we go. This is the marvelous designer. And here I have simulated it according to what? According to the pose. So I bring eroding the dress as well. And she looks good, but rest looks good. This is the way that you can do. You can quadrangle it. I just did that. I got triangulated the dress, make some changes posted here and there, and made some poly groups and just give some loops. I've already taught you all of this in earlier videos. You can follow that. That's it for this lesson. I hope you got something new. I will see you in the next one. 15. Creating the Belt: Hello guys and welcome back to another video. In this one, let's create the best for her. For that. I have used cylinder. I went to the cylinder, initialize it and kept it. Whatever. I find it a little bit less on. The gaps of fusion also tapered it a little bit. You can do that as well. Just yeah, I was searching for a plug-in that I had a cylinder but it's fairly easy, just bringing the cylinder shaped, scaling down, Shift bit more like a belt and make a copy of it. Create greater variation in height, and then just subtract it to make a key that's the target here. Just want to make a tube. Now Live Boolean it and really get the object, append it and delete the layer measures that we had to know the mesh is ready. All we have to do is use a radial symmetry for this one. Since the belt is made in such a way that it's better and quicker. Use radial symmetry. But the measure was not working for me. So I did a Z remeasure pass by and deleted the part which got copied down. Now occur because of the symmetry it was on. So yeah, the foot to delete any mesh, you just have to isolate and you go to Mesh modified topology and you can delete it. So that's the basic shape of her baby. What I'll do, I'll just quickly add the drag rectangular alphas. Use them, whatever I have, you can download them for later and whatever you can find free. Or you can just go ahead since if I went this way because I wanted to save some time on this tutorial. You can sculpt your Ruby since it's really old. So all of the details that you will sculpt in one will appear in all sections. So yeah, I am trying something simple just to see if some of my time you can just go ahead and do whatever you want, designs. Some Timberland, some simple alphas might work for you as well. I had some other firms that I will use, just simple ones like so. After a couple of experimental trial and error, I've got the bench to almost done. I guess that was not working. I'll just go ahead with another dry. And it's going to be distorted anyways, because there's n be bold manner. So this part will come out. I'm using my brush to do that. Scaling it up, putting it down. Make sure the bank sticks to the model. There is no clear gap or anything of that sort. Makes sure the baby is integrated. It doesn't feel like it's kept it from separately. Yeah, that is basically what the idea is. Creating any any character or any product for that character. And at this point you don't have to use the symmetry, otherwise, you won't be able to achieve that result. Because we created the body and the dress is not properly made in radians electrical. Let's just adjust this grass. I will see you in the next one. 16. Posing Right Hand: Hello guys and welcome back to another video. There, just to radians are meaningful, this one and this one, I will be posting the hand real quick. So since it's attached and I'm just manipulating singles up to my I'm not using depots, mesh or the Z plugins transpose master. I'll just pause it right here. So I'll pose the right hand first and then the last one will be posing the left-hand and will complete the character. That. It's just the same formula that you have been applying. Posing all the model, all the characters. And this one as well. Just masking it out and posing it correctly. For fingers. I'll tell you one thing. Fingers are divided into two, into three parts. And you will have candy the best reference there is. And for that, make sure that your fingers are not equally divided into three parts. They are somewhat equally, but the middle part is a little bit longer than for the front part. And the back part is the longest because it is attached to the knuckles. And you have to keep in mind about knuckles as well. Make sure they are not directly attached to the finger. They are a little bit away from there, little bit behind. And so I will suggest you to draw all the landmarks for Australia's got all the landmarks first, the bony areas, the pointy areas for the fingers. And that way you will get an understanding of where the bone is starting. So yeah, you can do that as well. Or else whatever you feel like, just follow the reference, whatever you have or follow your hand. This is the best way that I can imagine, and I have been using it to make fingers simplified for me. You can do that as well. Using Move Topological frequently in, in arms and hands. It's the best way to do not unmask or mosque and EAB off that. Because it can move and manipulate the part of the mesh based on the topology, like the part which is attached, since fingers or the fingers are far away from each other, like they are not simply attached as of one mesh. If you see that way, they have some distance. So you can use Move Topological to move them a little bit. And again, I'm using flattened to flatten the top surface of the finger if you observe your finger as well, right, to bend it, it'll flag and try to meet that pose. Cheese making. Sure just trying to produce a clicks on from our right hand. So that is what the post seems like. Some sort of downfalls, some random things happen when you're down. So real quickly adjusting the overall shape as well. Make sure the proportions are right here. I have just shortened the forearm a little bit because it felt like going too long. When you pause it, you can not always maintain the T-pose or proportions, because the more dynamic pose you have, the more hard it will be to maintain that proportion. So you have to go ahead and make the proportions right? Tweak it a little bit. That's how it works. That's all you have to do. You have to put in some effort for that. You can't just get away with, just pause and move. You have to make the proportions right after you pause it. Let's move on to the last video of this course. After this, I will just pause really quickly on a time-lapse the left hand and talk about the ending of this course. 17. Conclusion: Hello and welcome back to another video, which is going to be the last video of this course. And for this one, Let's oppose our left hand. While we pose, Let's talk about something else. So I hope you learned something from this course. If you haven't watched the other two parts of this series, I urge you to do so. Where we started making the base. Then on the second part, we started creating the dress for her in marvelous designer. And in the last part, which is this one, very detailed it poster and create some props for her. So you have the same room that I have told you. Four fingers in the last video will happen for this hand as well. Since fingers have fingers, they are on both hands. So it makes sense to nobody. I hope you learned something. In this course. Let me know, do some exercises to practice a lot and post somewhere tag me. And there is a project section as well. You can download the files, references that I'll be attaching. Follow them. Have fun. Most importantly, while it's creating any character, Have fun. If you ever feel like you don't want to create something. You don't have to. Just make sure that you have some realistic goals in mind while doing the character. Make sure you set with genre that you are going with. The style, art style that you're going for, detail, your character according to that, that is the most important thing. So, yeah, that's pretty much it. I had a lot of fun creating this course and this character as well, inspired by a web series from Netflix. Yeah, whatever you feel like you want to create, if there is some movie was at any of the series, some comic book character, superhero. If you feel like doing it, you do that as well. You don't have to follow somebody else's work or anything. Just go with the flow, go with whatever you wants to do. There are some techniques that I showed. You don't have to create the same character, but if you want to, you are free to do so. If you want to create that dress, you can do that. So I will be creating another course for z brushes as well, like the beginner course. What do I need to try? And three, you can follow me for that. You can join me and I will see you in future for sure. If you like this, please let me know. Share some work. That's fine. Take care of yourself and I will see you in the next goals probably. In the end. They will be the final render if you stay for that yesterday, that's it. That's it for the course. I'll see you. I'll see you in future.